[PREVIOUSLY_ON]
Julian : I decided not to produce the movie. There's this girl that... I'm kind of in love with, and... I couldn't be away from her for another day.
Haley : I know the label's gonna run a lot smoother with you at the helm.
Miranda : I'm not here to run the label. I'm here to close it.
Mouth : You're mad because I want you to move out, but it's only because I'm trying to step things up with Millie.
Skills : You trying to get rid of me with your naked ass. It ain't gonna work.
Quinn : You know earlier when... when I said I miss David?
Haley : What happened, Quinn? You said he...
Quinn : I left him.
Clay : Does that girl look familiar to you?
Nathan : Yeah, she was at the party today. Why?
Clay : She says she slept with you on the road, Nate, and she's going public.
AT BROOKE'S HOUSE
Man : And where will you run... back to the life of a peasant harlot?
Alex : Perhaps I will. But should I return to a life of more meager means, I will do so with my dignity intact, my heart pure and true.
Man : And yet you had no dignity nor purity in my bed a fortnight ago.
Alex : Meager means, indeed.
Man : Harlot! Leave the dress!
Brooke : Millie was right. Alex Dupré is the perfect choice to be the face of the new campaign. She's smart. She's talented. She is crazy beautiful. Julian?
Julian : I'm shaving!
Brooke : How come this movie never came out?
Julian : Because smart and talented and beautiful got all hopped up on goofballs and had to be checked into rehab. By the way, those dailies are top secret. I had to call in about a dozen favors to get 'em.
Brooke : Aww, my baby's so good to me. Damn. I am really gonna like this living-together thing. I want you to move your stuff in, okay? This is our house now, not just mine.
Julian : Good. Well, then how would you feel about going back to our bedroom for a little while?
Brooke : I'd make a joke about meager means, but... it would simply be untrue.
ON THE BEACH
Clay : Hey. You know I'm not judging you, right?
Nathan : Clay, listen, man, you've known me for a long time now. I don't care what that woman says. I did not sleep with her, all right?
Clay : All right.
Nathan : It's unbelievable to me that she could just show up and spout a bunch of lies, and the next thing you know, I'm in the headlines, my family's in the headlines, and I'm guilty before I'm innocent.
Clay : Don't freak out. You're not in the headlines yet. And believe it or not, this kind of thing, it happens a lot. You're a public figure, and they know you make a lot of money.
Nathan : I'm in a contract year, Clay.
Clay : I know. So, here's what you're gonna do. You're gonna stay in shape, you're gonna stay focused, and you're gonna let me handle it. All right?
Nathan : All right.
*yeah*
AT SCOTT'S HOUSE
Haley : It has been ringing off the hook.
*waves crash along*
Haley : Quinn, what happened? I mean, what actually happened between you and David?
Quinn : He just changed, you know? I mean, he used to see the world exactly the way I saw it. He just doesn't anymore.
Haley : But he still loves you.
Quinn : I know. But I don't know if that's enough.
Haley : I'm sorry. I got to go. I got to go down to the studio and take care of this whole "shutting us down" mess.
Quinn : Do you need my help?
Haley : No. You just stay here and enjoy your day. I'll see you later.
Quinn : Okay.
Haley : It's gonna be okay, Quinn.
Quinn : I love you.
Haley : I love you, too. *keep your hello* *don't think about it at all*
AT MOUHT'S APPARTMENT
Millicent : Is it okay?
Skills : You're good.
Millicent : Damn it, Skills!
Skills : What up, Millie?
Millicent : You and Marvin need to stop this ridiculous naked standoff!
Skills : Hey, look, he started it, trying to get me to move out.
Millicent : Okay, look... I'm going to pick up Alex Dupré from the airport. I'm gonna work a full day, and when I get home, you two idiots better have your pants on!
IN THE CAR
Jamie : So, what are you gonna do?
Skills : I ain't moving out. That's for sure.
Jamie : Why not? If Chester hopped around without his fur on, I'd probably move out.
Skills : Yeah, well, it's a long story. So, you ready for the beach?
Jamie : Totally. You think I can bury you and Miss Lauren in the sand?
Skills : Cool with me. Oh, and, um, don't tell Miss Lauren about the whole moving-out stuff, all right?
Jamie : Why not?
Skills : Just don't. Wait. Uh-Oh, here she comes.
Lauren : Hey, boys. Ready for the beach? What are you guys up to?
Skills : Nothing.
Jamie : Nothing.
Lauren : Huh.
*that girl's a genius* *whoa oh oh oh oh oh oh*
TV BROADCAST
Dan : Never believe that you can deceive. You might think that you can get away with it. You might actually get away with it... for a while. But your life is made up of choices and decisions.
AT BROOKE'S HOUSE
Paul : Hi, Julian.
Julian : Dad. What are you doing here?
Paul : I came to talk you out of the worst decision of your life.
TV BROADCAST
Dan : Poor choices, poor life. Bad decisions... bad life.
AT RED BEDROOM RECORDS
Haley : Come on. Where is it?
Miranda : Page 7, item 4... It's the part of the contract that basically says we can acquire the label whenever we'd like.
TV BROADCAST
Dan : Wickedness... As you know, I've been there. I'm not alone. My wife was, too. She was deceptive and manipulative. She abused drink and drugs. She was promiscuous. But today she stands beside me a changed woman, a caring woman, a better woman. Ladies and gentlemen, my wife, and the love of my life.
*my girl's ready to take control* *she just blows my mind* *she only listens to the radio*
Dan : I love you, honey.
Rachel : I love you, honey. *yeah* *she wakes up scared of getting old*
AT BROOKE'S HOUSE
Julian : I didn't make a bad decision, dad.
Paul : Is that right? You walked away from a potential blockbuster movie days before production, and for what?
Julian : For love.
Paul : Love... with Brooke Davis.
Julian : Be careful, dad.
Paul : Julian, she's Brooke Davis! I read the tabloids. This is a fling for her, and it could cost you your career!
Julian : I think you need to leave.
*behind the tv screen I've fallen to my knees*
Paul : Your career was one movie away from being prestigious... This movie. And you walk away. For what? A promiscuous fashion designer. *I need to get away* *blanket of silence* *makes me want to sink my teeth in deep* *burn all the evidence*
AT RED BEDROOM RECORDS
Miranda : Oh, this glass is gonna look amazing in my loft in Los Angeles.
Haley : All right, Miranda, I know that you have a legal right to shut down the label, but you don't have to be a total bitch about it.
Miranda : You're the producer, Haley, and, potentially, a great artist, but you don't have time to record because you're running what is essentially a vanity label.
Haley : Va... vanity la... You guys would not have Mia Catalano if it wasn't for this label. You wouldn't have had the time or patience or interest to develop an artist like her. That's what small labels do. We develop and nurture artists. It's something corporate labels will never do.
Miranda : I've always wanted a pool table.
AT BROOKE'S HOUSE
Brooke : I can't believe your dad just came all this way to tell you he thinks you're making a mistake. He couldn't call or text or tweet that to you?
Julian : He's a movie producer, Brooke. He loves the dramatic.
Brooke : Well, what else did he say?
Julian : He wanted to know what my game plan was... was I still actively producing, do I have a development staff finding me new properties, and...
Brooke : That is some poster.
Julian : What? Oh, right. You like it?
Brooke : Yeah. It's... different for the living room.
Julian : He was just so crazy, my father.
Brooke : Do you think maybe you would like that better in the spare bedroom or in your office? We could get you an office for that.
Julian : Look, my dad just flew five hours to ask me if I'm quitting the business and getting married.
Brooke : What did you say?
Julian : I asked him to leave.
Brooke : No, about the "marriage" part.
Julian : I told him he was crazy. We're not getting married. We just moved in together. I... I don't... I don't know what the hell got into him.
*I ain't got no other place to hide* *chained down like a sitting duck* *just waiting for the fall*
TV BROADCAST
Rachel : Hey, you.
Dan : The clock... it was a good idea. I think it reminds people that every second counts.
Rachel : It's easy. People don't have to work that hard to get it. We have that dinner tonight with the investment guys from Texas. I think you should tell them the whole "phoenix rising from the ashes" story. They'll love it.
Dan : It was a good show today. I think we might have reached some people. Do you think it was a good show?
Rachel : I'll let you know after I see the ratings. I got to go.
Dan : Hey. I love you.
Rachel : I know, baby. Wear your gray suit tonight. You always look good in that suit.
AT THE AEROPORT
Alex : Guys.
Fan : Right here!
Alex : Hey. There you go.
Fan : One more.
Tanya : Miss Dupré? Miss dupré? Could I get an autograph?
Alex : Oh, yeah, sure, you pretty thing. What's your name?
Tanya : Tanya.
Alex : Tanya?
Tanya : I loved you in "Heart so true". You were so brave in that.
Alex : Oh, thank you, sweetie. But that's just acting. You're the brave one.
Tanya : Thanks.
Alex : Bye. Bye bye.
Millicent : Alex, Millicent Huxtable, Clothes Over Bros. Welcome to Tree Hill.
Alex : Thank you.
IN THE CAR
Millicent : Can I just say that I am your biggest fan? And it's because of things like that... that you would take the time to inspire that poor girl in the wheelchair after such a long flight.
Alex : They kind of creep me out.
Millicent : What?
Alex : Cripples and, like, retarded people. They're always, like, drooling and smiling really weird. It's so gross. Water, water, water. Um, is there any wine in here?
Millicent : Um, I thought you were sober. You just went to rehab.
Alex : Ugh, do not remind me. They took my phone away. Besides, wine's not even alcohol. It's like grape. Ugh, it's so hot out there. Where the hell are we? It's like the devil's ass in this place. When do I get paid?
Millicent : I think your agent takes care of that.
Alex : Can I just tell you... I hate that woman. She's like a complete alcoholic, and her fingers look like chicken feet. Btw, I am starving. Is there any food?
Millicent : Well, I read that you only eat organic food, so we have an entire organic feast waiting at the hotel.
Alex : Yeah, I just make that stuff up. Can you drive through a Mickey d's? I could totally eat the butt off a skunk right now.
Millicent : Um, drive on... please.
ON THE BEACH
Clay : Nate, it's gonna be okay. You know, we haven't heard from this woman since the one e-mail. So, until it's real, it's not real. You know, and besides, who the hell would want to sleep with you, anyway? Okay, I know it's bad timing, but damn.
Nathan : Dude, quit checking out my sister-in-law.
Quinn : Hey, dumb and dumber.
Clay : Hey.
Quinn : Nice day, huh?
Nathan : I don't know. Maybe you're right. Maybe it's nothing.
Clay : Actually, uh... now it is something.
Lauren : Hey Jamie can you scratch my noze. Aah, thank you. Oh! My hat!
Jamie : I'll get it.
Lauren : Ohh.
Skills : Can you move?
Lauren : Not a muscle.
Skills : Me neither. Man, I hope that knucklehead come back.
AT RED BEDROOM RECORDS
Haley : So, listen, Peyton, here's the thing... Uh, you know how I... insisted that you keep that 1 % of the label? Well, it... it kind of killed the label. But, Haley... Okay, okay, I'm sorry. I can see that I'm upsetting you, and I don't want to do that. So, um, let me just, uh... Talk to Lucas. Geez, Haley, I... I... I... I... I don't know, you know? This has really meant a lot to... Peyton. I know. I know. I'm a terrible friend, and there's nothing that I can do unless I... You might be a genius, Haley. Thank you, Haley.
* am I * * am I losing my mind? *
ON THE BEACH
Jamie : Oh!
Quinn : Jamie?
Jamie : Aunt Quinn!
Quinn : Hey! Who let you off your leash?
Jamie : Uncle Skills, but he didn't bring the leash today.
Quinn : Okay, where is he?
Jamie : He's over there. Miss Lauren, too. This is her hat. Cool.
Quinn : Well, I was just on my way to go get a snack. Can I tempt you?
Jamie : Sure.
Quinn : Yeah? You should probably tell them you're with me.
Jamie : Denzel, this is Macaulay. Denzel, this is Macaulay. I'm going for a snack with my aunt Quinn. Over. Okay, all set. Stupid, crazy nanny.
Quinn : Hop on. Whoop! There we go. What do you want?
ON THE STREET
Dan : Hey, give me a sec, okay?
Rachel : Okay.
Dan : Mind if I join you?
Man : Spare a few bucks?
Dan : First... you mind telling me how you got here?
Man : You must be one of them religious guys or something.
Dan : No. I got nothing against religion. If you ask me, the one man you got to believe in... is you.
Man : I stopped believing in me a long time ago.
Dan : Why? You made some mistakes? You failed sometimes? Listen. No matter what mistakes or failures you had, they weren't even close to mine. There's a book you should read.
Man : You're talking about the bible.
Dan : No, man, it's not the bible. It's this book. Listen. There's a used-book shop around the corner. Now, you can take this book, sell it for a few bucks, buy yourself a bottle, and feel good for a few minutes. Or you could read it and feel better for the rest of your life.
Man : Hey. What your name is, man?
Dan : My name is Dan Scott. And I believe in you.
AT CLOTHES OVER BROS
Millicent : He probably didn't mean it.
Brooke : It was just the way he said it, as if the very idea of us ever getting married was somehow completely ridiculous to him. And then he hung this ugly army-man poster in the living room. I have to talk to him.
Millicent : Okay, but he might freak out a little if you start talking marriage so soon.
Brooke : No, about the poster, you dork. It has to go. I am really excited to meet Alex, though. How is she?
Millicent : Um... she's really... something. She just wanted to freshen up. You're gonna love her.
AT THE HOTEL ROOM
Millicent : She's gonna hate you!
Alex : Go away, you witch.
Millicent : "Witch"? "Witch"?! Look, missy, my ass is on the line here!
Alex : You mean your big ass.
Millicent : Really? Really? Get up!
Alex : I'm tired!
Millicent : Well, you better get un-tired because you're going over to Clothes Over Bros, and you're gonna convince Brooke Davis that the half-million dollars she's paying you is not a waste!
Alex : Half a million dollars?
AT THE RESTAURANT
Clay : So, you want to talk? Talk.
Renee : What, no "hello"? No introductions?
Clay : Your name's Renee. I recognize you from the picture you took when you trespassed at a 7-Year-Old's birthday party. You have a last name?
Renee : You're kind of hot when you're all fired up.
Clay : I know he didn't do it. I don't know what your angle is, and I don't know why you targeted Nathan Scott, but what I do know is that he didn't do it.
Renee : You're quite the party boy, aren't you?
Clay : I'm single. He's not.
Renee : Oh, like that matters.
Clay : Maybe not to girls like you, but to Nathan it does.
Renee : "Girls like me." You know what's so great about justice? It doesn't discriminate against "girls like me."
Nathan : What do you want from me?
Clay : Whoa, walk away, Nate.
Nathan : Huh?
Renee : Hi, Nathan.
Nathan : You need to stop this.
Clay : Outside.
Nathan : You need to stop this now, okay? Do you hear me? Why are you doing this to me?
Clay : Come on.
Clay : What the hell is wrong with you?
Nathan : I just wanted to talk to her.
Clay : In public? In front of a roomful of people with camera phones and video, you wanted to talk with her, just thought you'd have a little chat?
Nathan : I'm sorry. I screwed up.
Clay : Yeah, you screwed up, Nate!
Nathan : What does she want?
Clay : I don't know. I was about to find out until Nathan Scott stormed in like a madman!
Nathan : Look, I said I was sorry, jackass. Let it go.
Clay : I'm gonna see if she'll sit down with me again. In the meantime, you just, um... Try not to get thrown through a window, all right? Damn it, Nate.
AT CLOTHES OVER BROS
Millicent : Brooke? Please don't fire me. Please don't fire me.
Alex : Shut up. I'm an actress. I got this.
Brooke : Alex, hi, I'm Brooke Davis. It's so nice to meet you.
Alex : Oh... my... God. You are so beautiful.
Brooke : Thank you.
Alex : Can I just say that I'm so happy to be here? And I think it's so great that you make designer clothes for plus-sized girls. I never knew it was based on you, but I think that's so sweet.
Brooke : Uh, no, I'm normal-sized.
Alex : Oh, I know, but I have the best diet for you. You're so gonna lose that weight.
Brooke : Okay. How was your flight? You flew private, right?
Alex : Uh-Huh. They let me ride in the cockpit. It was so rad.
Brooke : In the cockpit?
Alex : Totally. They let me steer the plane and everything.
Brooke : They let you fly the plane.
Alex : I know! I'm so a cockpit girl.
Brooke : That's what she said.
Alex : Who?
Brooke : Who what?
Alex : You... you said she said something, but I don't know who you mean.
Brooke : No, it's... it's an expression. When someone says something that sounds sexual, you say, "that's what Alex : she said".
Alex : Oh. Right.
Brooke : Okay.
Alex : Why don't we show Alex the new line?
Brooke : Great. You're gonna love it. It's kind of elegant and kind of edgy, and the pieces are a lot like this one.
Alex : No, I don't like that.
Brooke : Why?
Alex : Uh, first of all, it's purple. When I was a little girl, there was this dinosaur thing, and it totally freaked me out, and it was purple.
Brooke : You mean Barney?
Alex : Yeah. That's what she said.
Brooke : Okay. That's totally wrong, but...
Alex : I know. I'm so funny, huh? My best friend, Kimmy, told me I should totally do more comedy. She says most people are really uptight, but I'm not tight at all.
Brooke : That's what she said.
Alex : Who? Oh, Kimmy? Yeah, she said that. She said I'm so much funnier than Cameron Diaz. I mean, plus, have you seen my ass? Come on. Way better than hers. Like way.
Brooke : Could you excuse us for just... One minute?
Alex : Sure. I have to pee, anyway.
Brooke : Great. Second door on the left.
Alex : Okay.
Millicent : I'll just clean out my things and go.
ON THE BEACH
Jamie : Remember that time I stayed with you and uncle David for a whole week?
Quinn : Yep, and we made pancakes every morning with chocolate sauce and whipped cream?
Jamie : Maybe if David comes, we could do that again.
Quinn : Yeah. Maybe. Hey, are you sure Skills and Lauren won't be worried about you?
Jamie : Oh, man!
IN THE CAR
Jamie : At least I got your hat.
AT RED BEDROOM RECORDS
Haley : So, can I talk to you?
Miranda : Would you like to speak with me or talk to me?
Haley : Oh, brother, you are a piece of work. So, you're excited about my record, right? John Knight's excited about my record, which is why you guys want to close Red Bedroom... to free me up to record?
Miranda : In part, yes.
Haley : If you close Red Bedroom, I'm not gonna make an album.
Miranda : Haley, you need to remove the emotion from this. It's a business decision. It's not personal.
Haley : It is personal. Everything about this label is personal... why Peyton started it, why she made me her partner... It's as personal as it gets.
Miranda : If you don't record with us, you don't record at all. We have a contract with you. We own you.
Mia : But you don't own me.
Miranda : It's a pleasure to meet you, Mia. I've seen you perform a few times, but we've never been formally introduced. Miranda Stone.
Mia : Haley's told me a lot about you.
Miranda : Red Bedroom records will always be important to us, but at the moment...
Mia : Can we just cut to the chase?
Haley : How is Chase?
Mia : He's good. He says hi. Thanks.
Haley : Aww, I was there at your first date.
Mia : Oh, I know. You and Nathan were so great. I sold more records than any artist on our roster last year. But if this label goes away, so do I.
Miranda : How so?
Mia : You distribute my records, but I record for Red Bedroom, exclusively. Peyton made sure of that.
Haley : It's true. I checked.
Miranda : Wow. Everyone has their price.
Mia : No, actually, not everyone. Peyton and Haley are responsible for my career, and you can't put a price on that. And even if you do, I won't accept it. So, congratulations. You're about to lose your biggest-selling artist. Does that pretty much do it, Hales?
Haley : Yes. Thank you.
Mia : So good to see you.
Haley : Oh, good to see you, too. You look so cute.
Mia : Thanks. I'll let you two talk.
Haley : Yeah? Who's the bitch now, bitch?
AT CLOTHES OVER BROS
Millicent : I'm so sorry. I should have met with her first. I thought she was the girl from her movies.
Brooke : It's okay. I thought so, too. She has been in that bathroom a really long time.
Millicent : What are we gonna do?
Brooke : I'll tell you what we're not gonna do. We are not gonna pay that dum-dum $500,000. We'll just have to... tell her something. We'll say the company went bankrupt or... Or maybe... we should just start speaking Spanish and she'll get really confused and she'll just leave.
Millicent : I don't think that's gonna work.
Brooke : It might. She is really dumb.
Alex : Brooke?
Brooke : Buenos dias. Tenido mucha cerveza.
Millicent : Ay, mucha cerveza.
Alex : It's okay. I, uh... I know I'm not what you expected. You don't have to pay me. It's just...
Brooke : That's one of my designs.
Alex : Since rehab, this dress is all I have. When I felt like I was nothing, it gave me strength and dignity. So, no matter what happens to me or where my life takes me, I'll wear this dress... your dress... and I'll be fine.
Brooke : It's okay. Of course we will pay you. I... I think you look beautiful in that dress, and I think you're gonna be perfect as the face of the line.
Alex : Really? That is so rad!
Brooke : Oh!
Alex : Yay!
AT TV BROADCAST
Rachel : Hey. Look at this. It's all over the internet. The buzz is really positive.
Dan : I didn't really have "buzz" in mind.
Rachel : I know, but that's why you have me.
*I'm here if you need me* *oh, this way* ...
AT BROOKE'S HOUSE
Brooke : Well, hi. What are you doing?
Julian : Fixing you dinner, and thinking about getting rid of my poster.
Brooke : Why?
Julian : Because you have to eat and because... You hate it.
Brooke : I don't hate it.
Julian : Yeah.
Brooke : No, I don't. I just... I don't really like it there.
Julian : It's okay. My father, as you know, was always gone, always on some distant location or at the office, you know, making movies. But this one time, he came home and surprised me and took me to see "the thin red line". And then we spent the rest of the day together, just him and me. And that didn't happen very often. Actually, that really never happened again. But that day... that was a good day. That was probably the best day I ever had with him. And that was the day I decided I wanted to make movies, too, like my dad.
*let it disappear into my hand* *whoa, yeah, my hand*
AT THE RESTAURANT
Clay : I appreciate you meeting me.
Renee : Oh, so now you appreciate me. What happened to confrontational Clay?
Clay : I'm confrontational because I'm protective over Nathan, and because, of all my clients, he's the last one I'd expect to be in this situation.
Renee : And what situation is that?
Clay : You tell me.
Renee : Ask me what's in the envelope.
Clay : I'm not here to play games.
Renee : The night Nathan scored 35 points against Memphis, you threw a big party for him after the game. I should know. I was there. It got... pretty wild.
Clay : Get to the point.
Renee : The pictures of what happened between me and Nathan that night are in the envelope.
Clay : Whatever's in that envelope is meaningless or fabricated, because we both know that whatever you're accusing him of doing, he didn't do.
Renee : Maybe you should take a look.
AT RED BEDROOM RECORDS
Miranda : I spoke with John Knight. He thinks Mia's bluffing, and he still wants to fold the label. But I recommended we don't.
Haley : Why?
Miranda : Because integrity and loyalty still matter. Does that surprise you... that I actually have a heart?
Haley : A little.
Miranda : And besides, I don't think she's bluffing, and she makes us a lot of money. If I do this... if... Your album needs to be finished in the next six months.
Haley : Hmm.
Miranda : Why did Peyton start this label, anyway? You said it was personal.
Haley : She thought that major labels were soulless.
Miranda : We are. Don't forget it.
*we just don't see it the same way* *but you're never sure* *we can't go on like this anymore*
AT BROOKE'S HOUSE
Brooke : It's open
Paul : Brooke. You wanted to speak with me?
Brooke : You know, my whole life, I wanted to get my mother to be proud of me. And then one night, Julian threatened to exile her from our lives, and I would do the same to you. I'm just not sure it would matter.
Paul : You're upset.
Brooke : I have this poster hanging in my living room, Paul. Of course I'm upset. And the only reason that it's hanging there is because you took him to see that movie, and for one day that boy felt close to his father. He felt loved and appreciated. And the sad part is that there was only one of those days. Because in my book, the day that he didn't feel that way should be the unique one. Fix it.
*the hardest thing about this is I still care* *you know there's something better* *for both of us out there*
AT SCOTT'S HOUSE
Haley : Hey.
Quinn : Hey.
*cause you wait for rain*
Quinn : How'd it go at the label?
Haley : Um... I think I fixed it temporarily. Now I got to fix my sister. Did you talk to David?
Quinn : There's not that much to talk about. We grew apart. You know, we stopped laughing as much, stopped caring as much.
Haley : Did something happen recently?
Quinn : One night in New York I went to go see "Spring awakening" with some friends. And after we took the subway to this ridiculous open-mike night in Brooklyn. And we watched these horrible performers who, for whatever reason, had to get onstage and be seen and heard. And as I'm watching them, I'm thinking that I understand them. You know, they... they were messy and... and unsure and maybe a little confused, but... but they were doing what they needed to do, you know, what their hearts needed them to do. And then David called my cell phone, and I didn't want to answer. You know, there was a time when he would have been sitting right there, and... and I would have loved that. But he hasn't been that guy in a while.
Haley : You guys were great together, you know. I mean, you... you were really happy.
Quinn : And then one day we weren't. And I know there's supposed to be some big, huge, important reason why, but there's not. It's just a feeling that I have that this isn't what I want for the rest of my life.
Haley : People have a right to change, Quinn.
Quinn : Yeah, but they also have a right to stay the same. They have a right to be exactly the person that they've always been. Okay? I didn't change, Haley. David changed. And now somehow I'm the one who's broken because of it. *wait for rain* *and I chase the stars* *we just don't see* ...
Haley : So, tell me what the worst act was that you saw that open-mike night. Come on.
Quinn : There was this really angry guy who sang "Cat's in the cradle". Yeah, I swear he was a serial killer.
Haley : When he got done, everyone clapped, and he, like, sneered at the people who didn't. I guarantee you they're missing right now. *I chase the stars*
Quinn : I miss you, Haley-Bob.
Haley : I miss you, too. *bring on the wrecking ball*
Haley : You're not broken.
Quinn : Thanks. I hope not.
AT BROOKE'S HOUSE
Paul : Hi, son. I was just... heading back to L.A. and I wanted to... say goodbye.
Julian : Okay.
Paul : Listen... I came here to tell you that I think you're wrong to put your relationship before your career, but... I think it's me who's been wrong. I wasn't around enough. And... I was too busy caring for fictional characters instead of caring for the real ones in my life.
Julian : You did fine, dad.
*there's just too much, my, my*
Paul : That poster... that was a good day for us?
Julian : The best. *my heart's as cold as ice*
Paul : I don't remember it. I'm sorry.
Julian : It's okay.
Paul : No, it's not. I'm proud of you, son. You go live your life and... Be happy. And whatever you do, don't be like me, okay? I'll see you. *the word that I breathe is a word that I need* *and the songs that I sing don't mean anything* *don't you wonder* *why it's always been this way?* *all our innocence is gone*
AT THE BAR
Nathan : What'd she say?
Clay : That night after your big game against Memphis, we had that party. We got pretty wasted that night.
Nathan : Yeah. So?
Clay : Well, that was three months ago.
*if you like, I'll take the blame* *for all the things that you have done*
Clay : She's three months pregnant, Nate. *my songs* *on a cold night* *I can't get you out* ...
AT BROOKE'S HOUSE
Man : And where will you run... back to the life of a peasant harlot?
Harlot : Perhaps I will. But should I return to a life of more meager means, I will do so with my dignity intact...
Julian : She's good in this. You were right.
Harlot : ... my heart pure and true.
Brooke : What? I love you. You know that? I love who you are. I don't know how you got there, but I'm glad you did.
Julian : I'm glad I did, too, 'cause you're here with me.
Brooke : Meager means, indeed. Mmm. Come here.
Man : Harlot! Leave the dress!
Harlot : This dress is all I have. When I felt like I was nothing, It gave me strength and dignity. So, no matter what happens to me Or where my life takes me, I'll wear this dress, and I'll be fine.
IN THE STREET
Man : I read your book.
Dan : Did it help?
Man : It did when I sold it.
AT SCOTT'S HOUSE
Nathan : How you doing?
Haley : Better now. I had such a crummy day.
Nathan : Yeah?
Haley : Uh-Huh.
Nathan : Well, I think it's about to get worse.
Haley : Why?
Nathan : I have something I need to tell you.
*my love* *is a young love* *but I know we'll get this right*


EXT. - L.A. - WAREHOUSE BUILDING - DAY
[The sound of slow breathing. The scene fades in with klezmer music. Jenny gets out of her car which is parked next to a warehouse by the freeway. Car traffic and police sirens are heard in the distance.]
[Title card: Los Angeles, California, present day]
[Jenny walks up to the warehouse. A sign on the building reads "Howling Coyote".]
[Jenny goes in. The breathing sound in the background begins to speed up. Jenny walks through a corridor to a main area with a small stage. A woman sits at a table. A big man looking at a clipboard walks past.]
Woman: Hey, Victor. She's here.
[Victor looks at Jenny.]
Victor: Yeah. So? (shrugs)
Woman: Trust me. She's a very sick girl.
[The breathing stops. Jenny smiles.]
[Opening credits]
INT. - SHANE AND JENNY'S HOUSE - JENNY'S ROOM - DAY
[Jenny sings softly in Hebrew. She slowly flips through the pages of a sketchbook, wherein is drawn disturbing pictures of a naked young woman: urinating in a bowl, being shouted at by a young man wearing a clown t-shirt, and standing on a stage in front of a crowd of cheering, shouting men, lifting her skirt. The title of one of the drawings reads "Skokie, Illinois, 1989". The sound of men cheering and whistling loudly is heard in the background.]
[The men in the crowd look vicious, like animals, as they shout at the young girl on stage. Jenny has drawn many of the men in the crowd with warped, bizarre faces, as they jeer and show their teeth at the girl on the stage. Some of the men stare hard; others have their mouths open, shouting.]
[Cut to live-action footage of men crowded around a small stage, shouting and banging on the stage animalistically. The men are almost uncontrollable. The scene goes back and forth between live-action shots and the drawings.]
[We see a drawing of a young Jenny, stripped down to her underwear, standing alone as hands reach for her. The sounds of cheering and shouting finally drift away. Jenny still sings softly.]
INT. - BETTE'S HOUSE - LIVING ROOM - DAY
[Deliverymen are bringing in a hospital bed for Melvin. Kit sits nearby. Bette moves furniture around.]
Bette: Just right in the middle of the living room.
Kit: Not a good decorating choice. You're going to be sorry.
Bette: I just had to get him out of the hospital. It was killing him.
Kit: Cancer's killing him.
Bette: (to deliverymen) That's great. Right there. Can you guys hook that up for me, please?
Deliveryman: Really not our job, ma'am. Here are the instructions.
[The deliveryman hands Bette a slip of paper before leaving. Bette reads it.]
Kit: Do you have any idea what you're taking on? Are you prepared to watch our father die right here in your living room?
Bette: He could go into remission, Kit. Don't put him in the ground quite yet.
Kit: He's refusing treatment.
Bette: His doctors give him four to six weeks. I give him as long as he wants to stay alive.
Kit: And what about work?
Bette: (sighs) Don't worry about work, Kit. I just... want to make sure that Daddy's set up. I'll figure something out.
Kit: I don't think you know what you're in for. This is going to eat you alive.
Bette: I didn't know that I would be taking it on all by myself.
Kit: Then you should have talked to me. You should have included me in this huge decision you made about how our father's going to leave this earth.
INT. - SHANE AND JENNY'S HOUSE - JENNY'S ROOM - DAY
[Jenny still sits, looking at the sketchbook, still singing softly in Hebrew. Shane walks in with coffee and a muffin and sits down next to her.]
Jenny: Thank you. That's nice.
Shane: They're from Mark.
Jenny: No, thank you.
Shane: Look, he asked me to bring it.
Jenny: I'm not going to let the b*st*rd redeem himself.
Shane: Look, I doubt he thinks that coffee and a muffin's going to redeem him.
[Jenny says nothing, continues looking at the sketchbook. Shane gets up and walks to the door.]
Shane: Look, I hate to bring this up, but... we have rent -
Jenny: No, no, no. I know.
Shane: You know, Jen, I'd - I'd cover you if I could -
Jenny: No.
Shane: You know, Mark offered -
[Jenny turns around to Shane.]
Jenny: No.
[She turns back to her sketchbook.]
Jenny: I'll pay my own rent.
Shane: Okay.
[Shane leaves.]
EXT. - BETTE'S HOUSE - FRONT PORCH - DAY
[Shelly, the nurse, walks to the front door.]
EXT. - SHANE AND JENNY'S HOUSE - FRONT PORCH - DAY
[Mark is busy scraping old paint off the house with a paint scraper.]
INT. - BETTE'S HOUSE - LIVING ROOM - DAY
[Bette is taking down some of the more suggestive art she has in her house. Shelly knocks at the door.]
Bette: Come in.
Shelly: (entering) Hi.
Bette: Oh, thank God you're here. Can you figure out how to hook that thing up?
Shelly: Oh, yeah, sure. (pointing to her bags) Is there anywhere that I can...
Bette: Oh, there's a spare bedroom around the corner, at the end of the hallway.
Shelly: Okay.
THE BABY'S ROOM -
[Shelly walks into the spare bedroom and sees the glass mobile and a baby's crib. She sets down her bag and walks back out to the living room.]
LIVING ROOM -
[Bette is now putting up pictures that were in a box of her and Tina. She looks at a picture a moment, and then sets it on the nightstand. Shelly enters.]
Shelly: I see you have a baby.
Bette: No, not yet. Maybe. I mean, yes, in 10 days. My ex. My ex, she's due in 10 days.
Shelly: You have a lot on your plate.
[Bette begins dialing a number on her phone.]
Bette: That's nothing new to me.
Shelly: Have you thought about what's going to happen if your father's still alive when the baby's born?
[Bette looks a little confused.]
Bette: He will be. (phone) Hi, James, it's me.
[Bette paces as she talks. Shelly prepares the IV by the bed.]
Bette: (phone) Can you call my father's housekeeper and have her send out my father's family photographs? Just have her overnight them to me. Okay. Okay, great. Thanks.
[Bette hangs up and sighs, and turns to Shelly.]
Bette: I was looking at my father's medication chart. Why is he taking Prednisone? Isn't that some kind of steroid?
Shelly: Yeah, it can help with mental clarity when there's inflammation or swelling around the brain.
[Bette stares at Shelly, seemingly struck by the gravity of the words.]
Shelly: Towards the end, it'll get very... confusing and frightening. And not just for the patient.
[Bette looks sad.]
INT. - THE PLANET - HELENA'S TABLE - DAY
[Tina, Dana, and Alice walk in. They pass Helena and Leigh who are at a table together, staring into each other's eyes and holding hands. Helena sees Tina.]
Helena: Tina!
[They unclasp hands.]
Helena: Dana, Alice. Do you know Leigh Ostin?
[Leigh waves at the gang.]
Dana: No, hi.
Leigh: (re: Tina's belly) Oh, my God. You're so close. How are you feeling?
Tina: Oh, hungry.
[Everyone chuckles. Helena grins.]
Leigh: Hey, is this Bette Porter's baby?
Tina: Well, our baby.
Leigh: Oh, I just met her recently. She is great.
Helena: Didn't she ask you out?
Leigh: (smiling uncomfortably) Yeah.
[Helena smiles a bit vindictively at Tina. Tina gives a little laugh.]
Tina: Uh, we're going to go sit down.
Alice: Yeah.
Helena: See you.
Dana: Bye.
Helena: Oh, but I'll see you here later tonight, yeah?
Tina: Oh, um, maybe. I just feel like a hot bath and my own bed tonight.
Helena: Well, we'll make it an early one.
Tina: We'll see. (to Leigh) It was nice seeing you again.
Leigh: You too.
Helena: Bye.
Leigh: Bye.
Dana: Bye.
[Helena watches after Tina as she goes to another part of the cafe and sits down; she looks somber, somewhat hurt.]
AT TINA'S TABLE -
Dana: Okay...
[Everybody picks up a menu and starts looking at it.]
Dana: So... so you're okay with that, huh?
Tina: What?
Dana: (nodding head toward Helena) That.
[Tina looks over. She doesn't seem upset or anything.]
Tina: Oh. Yeah, I'm okay with it.
Dana: Oh.
[Alice looks distant.]
Alice: I wouldn't be okay with it.
[Lara suddenly appears out of nowhere.]
Lara: (to Dana) I was wondering when I would see you in here. You haven't come in for dinner.
Dana: (shocked) Oh, my God!
Lara: Can I have a hug?
Dana: Yeah!
[Dana gets up and they hug very happily.]
Dana: (hugging) Hi, wow, look at you!
[Alice stares at them, dumbstruck. She looks a tad put off.]
Tina: Hi, why don't you sit down?
[Dana and Lara sit down.]
Lara: Yeah, okay, just until Kit gets here. We're planning a new lunch menu.
Dana: (confused) You work here?
Alice: Lunch! Wow! You're going to be here so much! And Gabby will probably be here, and -
Lara: We're not together.
[Silence. Alice nods absently, and then stares at her menu. Tina watches Alice. Lara redirects her attention back to Dana.]
Lara: I am so proud of you. You came out, big time.
Dana: (grinning) Yeah. Well, sorry I didn't do it any sooner. (chuckles)
[The two of them grin and stare at each other like a couple of lovesick teenagers. Lara looks off into the distance. Alice looks completely crushed.]
Lara: Oh, you know what? Kit's here. I should probably go, but... can we have dinner?
[Alice cocks her head. Dana's seems a bit surprised. She carefully defers to Alice.]
Dana: Yeah - I'd love to. Would that be okay with you, babe?
[Alice's mouth is frozen open.]
Lara: Oh. Oh, you guys are dat...
Alice: Well... (smiles)
Lara: (laughs) Oh, my God. I'm sorry.
[Lara, smiling, now seems as surprised as everyone else. She looks at Dana.]
Alice: Um... (fidgeting) Dana, you don't have to get permission from me to go out to dinner with your ex. You guys should be friends. (nods) Best, best friends.
[Alice's smile is big and fake.]
Lara: Okay, well.
Alice: (smiling) Uh-huh!
Lara: (to Dana) I'll, um... I'll talk to you after.
Dana: Okay.
Lara: Okay. It was good to see you guys.
Alice: (super fake smile) Uh-huh, you too! Okay.
Lara: Bye.
[Lara gets up and walks off. Dana grins.]
Dana: Wow.
[Alice flips her menu over and blows out a breath, avoiding eye contact with Dana.]
Alice: Whew, okay.
INT. - BETTE'S HOUSE - LIVING ROOM - DAY
[Shelly walks from the kitchen into the living room, with a handful of pill bottles and a large days-of-the-week pill sorting box. Bette is in the living room, making her father's bed.]
Shelly: So, I've organized his meds into times and dosages so you can keep to the schedule when I'm not here, and I'll show you how to clean and insert the I.V. catheter.
[Shelly sets the pill bottles on the nightstand next to the bed. Also on the nightstand is a picture of Bette hugging Tina. Bette looks at the picture, and at the pill bottles. Footsteps are heard on the porch.]
Shelly: Speak of the devil. Here he is.
[Melvin is wheeled into the house on an ambulance gurney by two paramedics.]
Shelly: Welcome home, Mr. Porter.
[Bette is a little taken aback at the scene. She closes the door.]
Bette: How are you feeling, Daddy?
Melvin: Who is this woman?
Bette: Uh, that's... Shelly. She was in the hospital with you yesterday. You remember? She's your nurse?
[The paramedics move Melvin over to the hospice bed Bette's prepared. His IV and oxygen are in place. Melvin stares at the four people standing around his bed looking at him.]
Melvin: Am I on display?
[The paramedics leave with their gurney.]
Melvin: (shouting) Can't a man have a bit of privacy?
Shelly: (to Bette) I suggest hospital curtains. I can order them.
[Shelly hangs up Melvin's IV.]
Bette: Curtains are so ugly and depressing. Get some of those Japanese screens and make a room within a room. Hey, why don't you pick some of those up at Ikea?
Shelly: Um, maybe you can get your assistant to do that.
[Bette looks confused.]
INT. - JENNY & SHANE'S HOUSE - KITCHEN - DAY
[Mark is working on the sink. Jenny is putting things in her purse.]
Mark: Seriously, Jenny, if you're short on rent this month, it's not a problem.
Jenny: f*ck you.
Mark: I don't expect that it would fix everything.
Jenny: (calmly) Like you can buy me off with money and good deeds, like I'm some kind of a whore?
Mark: That's not what I meant.
[Jenny grabs her purse and leaves.]
INT. - BETTE'S HOUSE - KITCHEN - DAY
[Franklin is sitting at the table, having a glass of tea. Bette is putting things away and organizing Melvin's pills on the countertop.]
Bette: I was planning on coming in this afternoon, but he just seemed a little disoriented, so I just didn't feel comfortable.
Franklin: You're doing the right thing, Bette.
Bette: After this week, I should be able to get back to some... semblance of a normal schedule.
Franklin: Listen, we - we don't want you to feel pressured, uh... You take however much time you need.
Bette: (smiles at him) Thank you. I appreciate that.
Franklin: We just, uh, need to put some... structure in place, uh... no, I - I'm sure the board would support a temporary leave of absence.
[Bette stops and turns to Franklin, confused.]
Bette: A leave of absence? What about the Allyn Barnes retrospective?
Franklin: (smiling) Well, we have Leo. Things won't totally fall apart while you're gone.
Bette: (agitated) I hired a nurse. I wasn't planning on taking a leave of absence. I'm sure that as soon as he trusts her -
[Shelly comes in.]
Shelly: I'm sorry to interrupt, but I need your help.
Bette: (to Franklin) I'm sorry. Excuse me, just...
[Bette follows Shelly into the living room.]
Franklin: Sure.
LIVING ROOM -
[Shelly and Bette stand on opposite sides of the bed. They are going to turn Melvin over.]
Shelly: So we have to do this every few hours. Just take his shoulder gently, under here, like that.
[They start to move him. Melvin grumbles.]
Bette: Is that okay?
[Melvin groans as Bette pulls him onto his side and holds him there. Shelly puts a pillow at his back.]
Shelly: Yeah. Use a pillow to prop him.
[Franklin enters.]
Franklin: Sorry, I - I have to go back to the office.
Bette: Just one second...
[They get Melvin situated and covered up. Bette walks over to talk to Franklin by the door.]
Franklin: Your father's lucky to have you, Bette.
Bette: Thanks.
Franklin: Uh, just - let me know what you want to do.
Bette: About what?
Franklin: Uh, about the leave of absence.
Bette: (sighs) Can I have until Monday to decide?
Franklin: Of course. Take the weekend.
[Franklin leaves. Bette closes the door and sighs.]
EXT. - THE PLANET - NIGHT
[Cars zoom past. A doorman stands in the doorway. People sit outside on the patio.]
INT. - THE PLANET - HELENA & TINA'S TABLE - NIGHT
[Helena and Tina, and Dana and Alice, are having dinner. A blonde woman sits on the other side of Helena. Helena hands a menu to the waitress.]
Helena: (to waitress) Ask Lara to - (to Dana) it is Lara, isn't it? Your chef?
Dana: Yeah.
Helena: (to waitress) Ask Lara to bring us a selection of small tastes, whatever she thinks is most delicious.
Alice: (to Dana) "Your chef"? That's nice.
Blonde woman: Wow. This is my favorite way to eat.
Helena: You should stick with me, then.
[Helena is being openly flirtatious right in front of Tina. Tina looks very uncomfortable.]
Dana: Alice, if you don't want me to go out with her, just -
Alice: I said it was okay.
[Helena is turned completely to the other woman, fully engaged, her back completely to Tina. Helena and the woman are flirting big time.]
Blonde: I'm a surveillance photographer. I work for divorce lawyers, wives trying to find their husbands cheating on them, that kind of thing.
Helena: That's brilliant. I should bring you with me to New York. You can spy on my ex.
[Both laugh.]
Tina: I'm going to go.
Helena: (surprised) Why? We haven't even eaten.
Tina: (smiling) I can't keep my eyes open. But please stay. I'll take a cab.
Helena: You okay?
Tina: Besides having to pee like a horse?
Helena: You know what I mean.
Tina: Helena, I'm tired. I just want to go home and be alone.
Helena: Fine. Enjoy being alone.
Tina: I will. I want to enjoy it while I can.
[Tina stares daggers at Helena before getting up.]
Tina: Bye, guys.
Alice: Okay, I'll see you later.
Dana: Bye.
[Helena looks like she's having second thoughts. She stands.]
Helena: Tina...
[Helena embraces Tina, gives her a kiss on the cheek. In the hug, she gets close to her ear.]
Helena: (whispering) You won't be alone, but you'll still get lonely.
[The hug ends. Tina looks a little hurt and walks away. Helena smiles a bit smugly.]
INT. - BETTE'S HOUSE - LIVING ROOM - NIGHT
[Bette and Kit sit next to their father's bed. Melvin sleeps quietly. His EKG machine beeps quietly in the background. Bette is reading a poem - "The Negro Speaks of Rivers" by Langston Hughes.]
Bette: (reading) "I looked upon the Nile and raised the pyramids above it. I heard the singing of the Mississippi when Abe Lincoln went down to New Orleans, and I've seen its muddy bosom turn all golden in the sunset." (Bette sighs) (reading) "I've known rivers, ancient, dusky rivers. My soul has grown deep, like the rivers."
[Bette puts the book down and gets up.]
Bette: Daddy, it's time to turn you over. I'm just going to try to do this by myself, okay?
Melvin: (weakly) Uh-huh...
[Bette doesn't see that Tina has walked into the room. Bette starts to lift up her father's shoulder.]
Bette: I'm just going to lift up...
Tina: Let me help you.
[Bette is surprised to see Tina. Tina goes to the other side of the bed and helps Bette roll her father over.]
Bette: If you could just... take the pillow...
Tina: Okay.
Bette: And I'll hold his shoulder here.
Tina: (putting pillow behind Melvin) Kit made you dinner. I promised her I'd make you sit down and eat it.
[Melvin is finally situated. Bette rolls him back onto the pillow. Melvin grunts.]
Bette: That's good.
[Tina looks down at her would-be father-in-law. He stares back up at her. Bette watches.]
Tina: Hello, Melvin. It's Tina. "Ms. Kennard."
Melvin: I know who you are.
Tina: Kit's at work. She'll be here as soon as she can.
Melvin: Who?
Bette: Katie, Daddy. She said she's going to be here soon.
Melvin: (to Bette) How does she know Katie?
[Tina isn't sure what to say.]
Bette: (to Melvin) I'm going to go get you a glass of water. Okay? I'll be right back.
Tina: (to Bette) I'll fix you dinner.
KITCHEN -
[Bette and Tina walk in. Bette gets a glass of water, and Tina prepares some of the food Kit made. Bette starts to walk back into the living room.]
Tina: I'm sorry... if I was selfish the other night.
Bette: It's okay.
[Bette returns to the living room.]
LATER - LIVING ROOM -
[Melvin is sleeping. Tina sits next to Bette as Bette stares at her father.]
Bette: I put him in the living room. I didn't want to put him in the baby's room, in case...
[Bette gets teary-eyed. She leans back in the chair, and lays against Tina's shoulder. Tina has her arm around her. They watch Melvin sleep. Bette relaxes into her embrace and Tina pets her hair.]
Bette: We've never done this before.
Tina: I've never held you?
Bette: In front of my father.
Tina: He's asleep.
[Melvin's eyes open. He looks at the two women.]
Melvin: (very pleased) Now, that's what I like to see. (to Tina) Now, promise... you'll take good care of my girl.
[Tina looks a little dazed, as Melvin has never addressed them openly about their relationship. Bette smiles up at Tina.]
Tina: I promise.
Melvin: (to Bette) And you... you take good care of your mother, too. You hear me? Maxine... don't run away again...
[Bette seems let down and heartbroken at the same time. She leans forward and puts her face in her hands, crying.]
Melvin: Stay... with our little girl. I know I let you down, Maxine. I was weak. (sobbing) I didn't mean to.
[Bette goes to sit on the edge of his bed and comfort him.]
Bette: Oh, Daddy.
Melvin: But I need you...
Bette: Daddy...
Melvin: ... to stay... and look after my girl...
Bette: Daddy...
INT. - THE PLANET - NIGHT
[Kit is serving patrons in the bar. Dana and Alice are in the corner, talking. Shane walks up.]
Shane: Hey, Carmen called me. Is she really here?
Alice: Who?
[The lights go down and music starts. Cheering and applause ensues.]
Shane: It's Peaches. C'mon, let's go!
[A performer named Peaches sings a song. Shane and Carmen are in the crowd a few feet from each other. Every few seconds they glance at each other then glance away.]
INT. - BETTE'S HOUSE - LIVING ROOM - NIGHT
[Melvin is sleeping. Bette sits on the edge of his bed, worrying.]
Bette: I can't face it. I can't face it.
[Tina smoothes Bette's hair back from her face. Bette sobs softly. Bette stands up. Tina hugs her as she cries.]
MOMENTS LATER -
[Tina leads a crying Bette back into the bedroom. Bette sits on the edge of the bed and starts to take her clothes off. Tina pets her hair and helps her get undressed. Bette looks up to her. Tina leans down and kisses her softly.]
Bette: (sobbing) Can we just sleep?
Tina: (smiling) Yes, please.
[Bette lays down on the bed. Tina lays down with her and they sleep.]
INT. - JENNY & SHANE'S HOUSE - KITCHEN - MORNING
[Jenny walks in and gets a box of cereal from the top of the fridge and a bowl from the sink. She ignores Mark, who's making coffee. Jenny sits and eats.]
Mark: Want some coffee?
[No reply. Mark shakes his head.]
EXT. - BETTE'S HOUSE - BEDROOM WINDOW - MORNING
[We see Bette and Tina still sleeping, through the window. Bette stirs and sits up, still looking exhausted.]
INT. - BETTE'S HOUSE - LIVING ROOM - MORNING
[Bette tiptoes in. Melvin's EKG beeps. Kit is laying in the lounger next to her dad, asleep. She stirs awake when she hears Bette.]
Bette: Hey. What time did you get here?
Kit: A little after midnight. (stands) He had a rough night. He was awake, but he didn't talk. He was in so much pain.
Bette: I feel like he's giving up.
[Kit stands next to Bette. They look at their father.]
Bette: Uh, Shelly's going to be here in an hour. She said she wants to give him a sponge bath this morning.
Melvin: No, she will not. That's an indignity I am not prepared to endure.
[Bette pours a glass of water.]
Melvin: You can help me to the bathroom. I'm perfectly capable of bathing myself... which you don't seem to be able to do these days. I haven't seen you out of those clothes since I first arrived.
Bette: Because I've been taking care of you, Daddy.
Melvin: To the detriment of your work, and what's all this about taking a leave of absence?
Bette: I'm considering it.
Melvin: So you can mope around here and watch an old man die? I will not have it! Your work is too important for that.
Bette: It's not more important than you.
Melvin: I don't want either of you to compromise your careers on my behalf. Do you understand?
Kit: Yeah.
Melvin: (to Kit) And you. If you think Benjamin is going to leave his family for you -
Kit: I don't, Daddy.
Melvin: What do you mean, you don't?
Kit: I wouldn't do that to another man's wife.
Melvin: It's human nature to pursue one's happiness over someone else's misery.
Kit: Not always, Daddy. After her mother stole you from my mother, you fell in love with someone else, didn't you, Daddy?
Melvin: That doesn't matter.
[Tina walks in.]
Tina: Oh, um... I'm sorry.
Melvin: Hello, Tina.
[Everybody gawks at Melvin. This is the first time Melvin has ever addressed her directly as Tina.]
Tina: (smiles) Hello, Melvin.
[Bette casts a backwards glance at Tina.]
Melvin: Where's my nurse? I'm ready to get out of this damn bed.
Kit: Daddy...
Bette: No, Daddy, just relax.
Tina: It's good to see that you're feeling better. (to Bette) I have to go to work.
[Bette and Tina hold hands as Bette walks her to the door. Melvin watches them closely. Bette and Tina kiss then Tina leaves. Melvin doesn't turn away.]
IN THE HALLWAY -
[Kit and Bette are supporting Melvin between them as they help him to the bathroom.]
Kit: Just be careful.
Bette: Alright. Alright. Okay.
Kit: Not too fast.
Bette: Okay.
Kit: Alright, you're alright. Okay.
[They arrive at the open bathroom door.]
Melvin: Alright. Can a man have some privacy? Huh?
Kit: Yeah, Daddy.
[Melvin walks into the bathroom and slams the door in their faces.]
Bette: Just leave him alone, I think he'll be fine.
[They lean in to listen. The doorbell chimes. Bette goes to answer it.]
LIVING ROOM -
Shelly: Sorry I'm late. Traffic on the 405 - where's your father?
Bette: He's doing well. He's in the bathroom.
[There's a loud crash and thud down the hallway. Bette and Shelly race to the bathroom.]
HALLWAY -
[Kit opens the bathroom door.]
Kit: Oh, Daddy! Are you okay, Daddy?
[Melvin has fallen down in the bathroom. Kit kneels next to him.]
Melvin: I -
[Bette and Shelly race in. Shelly quickly kneels next to Melvin to keep him still. Melvin reaches up toward Bette.]
Shelly: Don't move. Mr. Porter, don't move.
Melvin: No, no. No hospitals.
Shelly: Just try and stay as still as possible.
Melvin: No, no hospital. No more hospitals. No. (to Bette) No more hospital! No!
[Bette leaves the bathroom.]
Shelly: (to Melvin) Okay, just try and relax.
INT. - JENNY & SHANE'S HOUSE - KITCHEN - MORNING
[Jenny is sitting at the table eating. Mark is sitting on the countertop reading the paper. Shane drinks some coffee.]
Shane: (to Jenny) Where were you last night? You missed Peaches.
[Jenny shrugs. Suddenly, the kitchen door opens and Bette races in.]
Bette: I need your help!
[Bette races back out. All three follow her.]
INT. - BETTE'S HOUSE - LIVING ROOM - MORNING
[Everyone is carrying Melvin back to his bed...]
Kit: Going around the corner, guys. Daddy, are you okay?
Bette: Just get his head. Do we have his head?
Shelly: Yeah, we've got his head, and watch the ivy there.
Kit: Okay. Alright. Alright.
[... except Jenny, who watches from the sidelines.]
Shelly: You're doing real good.
INT. - ALICE'S APARTMENT - BATHROOM - DAY
[Dana is in the bathroom wrapped in a towel, freshly showered. She sits on the edge of the tub, shaving her legs. Alice walks in.]
Alice: Why are you shaving your legs?
Dana: 'Cause there's hair on them?
Alice: So? Is Lara going to feel them or something?
[Dana narrows her eyes a little at Alice.]
Alice: What, it's a legitimate question.
[SCENE_BREAK]
EXT. - L.A. STREET - DAY
[Shane and Mark are walking down the sidewalk. Shane is on her cell phone. Mark is reading the label on a can.]
Shane: (phone) Hey. Yeah, we're just picking a few things up for Melvin. Yeah, well, listen, why don't you and Dana grab a bottle of wine and some flowers when we hit Bette's? Alright. Yeah, sounds good. Alright, see you then. Bye. (to Mark) Oh, poor Bette.
Mark: "Poor Bette," man? Poor Melvin. (re: can) Look at this sh1t. It's liquid food.
Shane: Cycle of life. You wind up eating baby food, and you're back in diapers.
Mark: Mm.
[Mark's cellphone rings. He stops and looks at the readout.]
Shane: Who's that?
Mark: No one.
Shane: Who's that??
Mark: (smiling) No one.
[Shane gives him a playful kick in the butt.]
Mark: It's Lola.
Shane: Lola? Who's Lola?
Mark: Uh, she's that girl from last night.
Shane: Wait, the one who was up on stage with Peaches?
Mark: Yes.
Shane: (laughing) Stiffing her on stage?
Mark: (laughing) Shut up. She was drunk.
Shane: sh1t, if she's drunk, do you think she'd text message me?
Mark: Shut the f*ck up.
Shane: I'll text message her. (laughs)
INT. - BETTE'S HOUSE - KITCHEN - DAY
[Bette is on the phone.]
Bette: (phone) I've already been transferred.
[Alice and Dana enter, carrying flowers and beer.]
Bette: (phone) One second. (to Alice/Dana) I'll be right there. (phone) Hello? (clears throat) Yeah, this is Bette Porter. I'm trying to hire an additional respite worker.
[Alice and Dana set the stuff in the kitchen.]
LATER - BACK PORCH -
[Bette, Mark, Shane, Dana, and Alice are sitting around having beer.]
Shane: Uh, my dad? Invisible.
Mark: Bitter.
Dana: (clears throat) (nodding) Dependably supportive.
Mark: (holds up a finger, smiling) One word.
Dana: Dependable.
[Alice is quiet. She seems a little lost.]
Alice: Distant.
[She looks at Dana. Dana watches her. Alice looks away.]
Mark: Bette, what about you?
Bette: What about me, what?
Shane: Describe your dad. One word.
Bette: Dying.
LATER - LIVING ROOM -
[Blues plays in the background. Bette is giving Melvin water via an eye dropper.]
Bette: There you go. Swallow.
[Shane walks in, followed by the others.]
Shane: Hey.
Bette: I'm sorry, my father was thirsty.
Shane: Maybe we should let you be.
Bette: Yeah. Thanks, you guys.
Shane: Bye. Call if you need anything.
Bette: Okay.
[Bette puts a few more drops of water into Melvin's mouth.]
Bette: Open. There you go. Swallow.
EXT. - RESIDENTIAL STREET - DAY
[Alice drives up the street and stops at the curb to let Dana out.]
Alice: Alright. I'll see you at 10:00.
Dana: Yep. 10:00 o'clock. Now, what is it?
Alice: I don't know. A nightclub thing with Jenny. I don't know, but she said be there at 10:00, so don't be late.
Dana: Okay, I'll be there.
[Dana leans forward and gives Alice a kiss on the cheek. Alice looks nervous and worried.]
Dana: Are you okay?
Alice: Yes. Mm-hmm.
Dana: Okay. I'll see you later.
Alice: Alrighty.
Dana: Okay.
[Dana gets out. Alice watches her go, then looks down.]
Alice: (quietly) Goddammit.
INT. - BETTE'S HOUSE - LIVING ROOM - DAY
[Bette has a box full of Melvin's old photos. She looks at some of the pictures. Melvin watches her, but seems far away, unable to react.]
Bette: Here are some of your things, Daddy. (looks at photo) There's me and mom.
[The picture is of a beautiful woman with long, blonde hair holding Bette, who's about 2 in the picture. Bette shows the picture to Melvin.]
Bette: I remember that little ball.
[Bette sets the framed picture on the shelf by the bed and gets another out of the box.]
Bette: I don't remember this one. Do you remember this? You and mom?
[Bette shows the framed photo to Melvin. He looks, but doesn't answer. The photo is black and white, of a young Melvin and Maxine. Bette pulls out another photo.]
Bette: Here's me and mom.
[Maxine watches a 2-year old Bette playing with toys. Bette looks affectionately at the picture, and shows it to Melvin. Melvin smiles warmly.]
Bette: I had a lot of hair as a kid. (chuckles) There's some of her watercolors in here. Oh, look.
[Bette pulls out a seashell from the box and smiles.]
Bette: Where's that from?
Melvin: I...
Bette: (smiling) Acapulco, right? (puts shell down) Let's see what else we have in here.
[Bette carefully pulls out a beautiful watercolor in a matte frame. She looks at it. The scene is of window shutters surrounded by flowers in a sunny room. She holds it up for Melvin to see.]
Bette: I think this one was your favorite, wasn't it? She knew her stuff, mom, didn't she?
[Melvin looks warmly at the painting.]
Melvin: (mumbling) Yeah... yeah...
Bette: I'm going to put this right over here.
[Bette sets the painting on the shelf by the bed. Melvin's eyes never leave it.]
EXT. - LA - DAY
[A shot of a palm tree swaying in the breeze, with a mountain in the background. Traffic and police sirens are heard in the distance.]
INT. - RESTAURANT - DANA & LARA'S TABLE - NIGHT
[Dana and Lara are sitting at a small table eating African/Middle Eastern food with their fingers.]
Lara: I should've worn my latex jumpsuit.
Dana: (laughs) I really miss our food adventures.
Lara: You know, there's this Peruvian restaurant in Van Nuys I've been wanting to go to.
Dana: Mm-hmm?
[Lara looks at her expectantly.]
Dana: I shouldn't.
Lara: Training.
Dana: No. Well, yeah, sort of.
Lara: Alice.
Dana: Lara...
Lara: Dana... I'm just talking about a dinner.
Dana: No, this is a dinner. What you're talking about... is a second dinner.
[The camera slowly closes in on Dana's purse, sitting on the chair next to Dana. It buzzes with an incoming call, but Dana doesn't notice.]
EXT. - RAUNCHY BAR - NIGHT
[Alice is on her phone, pacing. Bikers and cars go by. Rock music is heard from the bar.]
Alice: (phone) Hey, uh, hey, it's me, um... I just wanted to call and tell you to, uh, maybe get here at, like, a quarter to 10:00. Um...
[Carmen passes by and waves.]
Carmen: Al, hey!
[Alice waves back. Carmen goes in to the bar.]
Alice: (phone) um, 'cause it looks like it might be a little busy... crowded. Um, so, okay, yeah, call me when you get this. Okay? Bye. (hangs up) Goddammit.
INT. - RAUNCHY BAR - NIGHT
[The bar is packed, and it appears 99% of the patrons are burly biker-type men. The centerpiece of the bar is a stage where currently, a woman is stripping as heavy metal pounds out over the speakers. Men crowd around the stage and howl and cheer over the music as the woman reveals her breasts. Carmen tries to make her way in, toward the table where Shane is standing.]
Carmen: Jesus Christ.
Shane: Hey!
Carmen: Hey! Nice place!
Shane: Oh, yeah. Did Jenny invite you?
Yeah, she did. Have you seen her?
Shane: No.
Carmen: This just doesn't feel right. I'm going to go look for her. God, why would she want to come to this place?
[The woman strips and writhes as she dances. Some of the men pound the stage, grunting and shouting at her. Shane looks over and sees Carmen, not very far into the crowd. We can hear Carmen shouting angrily at someone. Shane leaves her table and walks over.]
Carmen: (to some guy, angrily) What do you mean, "Cool your jets, honey"? Don't f*cking touch me! Get your f*cking hands off of me!
Guy: Whoa, honey, honey, cool your jets.
Carmen: What the f*ck is your problem, man? Why do you have to f*cking touch me, huh?
Guy: Hey, hey, whoa, baby, whoa.
Carmen: What?! Why do you have to f*cking put your hands on me?
[Shane gets to Carmen just as a bouncer comes and separates the guy from Carmen. Shane walks Carmen away from the scene.]
Carmen: Asshole!
Shane: Are you all right?
Carmen: Yes.
[Another guy bumps into Carmen. She shoves at him a little.]
Carmen: Goddammit!
[Shane is grinning profusely. She leans close to Carmen's ear, shouting over the music.]
Shane: Do you want to go out sometime?
Carmen: What?
Shane: (leans in again) Do you want to go out with me sometime?
[Carmen stares at Shane, a little dumbstruck.]
INT. - BETTE'S HOUSE - LIVING ROOM - NIGHT
[Melvin is sleeping. Bette and Kit sit close to his bedside. Bette is reading "The Negro Speaks of Rivers" to him again.]
Bette: (reading) "And I've seen its muddy bosom turn all golden in the sunset. I have known rivers... ancient, dusky rivers" -
Kit: What is that?
Bette: It's Daddy's favorite poem.
Kit: Oh.
Bette: Didn't he ever read it to you?
Kit: No... and thank God, because that's one dull-ass poem.
Melvin: (groaning) Mama... ma...
Bette: Oh, Daddy, shhhh.
Melvin: Mama... mama...
Bette: Shh, Daddy. Shh.
Melvin: Ma... m...
Bette: Daddy, it's okay.
[Kit begins to sing softly - "Rusty Old Halo".]
Kit: (singing) "Rusty old halo, skinny white clouds..."
[Bette joins in.]
Kit/Bette: (singing) "... second-hand wings full of patches. Rusty old halo, skinny white cloud, a robe so woolly it scratches. I know a man rich as a king, still he just won't give his neighbor a thing. His day will come, I'll make a bet, he'll get to heaven and here's what he'll get."
[Kit begins to cry as she sings. Bette looks at her.]
Kit/Bette: (singing) "Rusty old halo, skinny white cloud, a robe so woolly it scratches."
Kit: (singing) (weakly) "A robe so woolly, it scratches..."
[Bette puts her head on Kit's shoulder.]
INT. - RAUNCHY BAR - NIGHT
[The music and loud cheering continues. The stripper finishes her dance and leaves the stage. The male MC comes out.]
MC: (mic) Ladies and gentlemen, please welcome a special new dancer. Give it up for Miss Yeshiva Girl!
[The crowds cheer harder, beating on the stage and howling. More blaring heavy metal starts playing. We see Jenny sitting off stage, just behind the curtain, biding her time before going out there. She throws a high-heeled shoe out on the stage and the men go even wilder.]
SHANE'S TABLE -
[Shane leans up against the table, watching the stage. Dana is making her way towards her, jumping out of the way to avoid contact with anyone or anything.]
Dana: Hey!
Shane: Hey!
Dana: I feel like I'm in hell. What is this place?
Shane: It's Jenny.
[The man that works the spotlight for the stage shines the spotlight on the curtain, waiting for Jenny. The men are starting to shout and boo, because so far Jenny hasn't materialized. Dana looks around the club.]
Dana: Where's Alice?
Shane: She went to look for you.
INT. - ALICE'S APARTMENT - BEDROOM - NIGHT
[Alice opens the door. The bed is empty; Dana is nowhere to be found. She throws her purse down and flops on the bed and buries her face in the covers. She rolls onto her back and sighs.]
Alice: Dana?
INT. - RAUNCHY BAR - NIGHT
[Klezmer music is playing. The crowd is starting to jeer. Jenny, still behind the curtain on the side, throws out a piece of clothing. The men shout and cheer wildly. Jenny finally steps out onto the stage nonchalantly. She's dressed in a black t-shirt and blue jeans. We start to see scenes of this audience that look exactly like the scenes from the beginning of the episode. The men howl and bang on the stage, cheering and whistling wildly. Some of the men are shouting various things at her to hurry up.]
Men: (shouting) C'mon! Hurry it up! Take it off!
[At first, Jenny looks a little uneasy, but then she slowly walks out to the middle of the stage, middle of the crowd of shouting men. Shane and Carmen watch from the back of the club.]
Shane: What the f*ck is she doing?
[The men are getting anxious. The cheering has turned into jeering. All the men are shouting at her to take her clothes off already. Jenny stares at the crowd, looking a little uneasy again. The sounds of the crowd slowly fade out, replaced by the sounds of Jenny softly singing in Hebrew. Jenny pulls her shirt off. The men start to cheer harder, but all we can hear is the klezmer and Jenny's singing. Jenny takes off her bra and throws it at the audience. The men cheer harder. After a couple of seconds, Jenny pushes her pants down to her ankles, now completely nude on the stage. She puts her arms in the air. The men go crazy, crazier than ever, screaming and cheering. Their sounds fade back in.]
INT. - ALICE'S APARTMENT - BEDROOM - NIGHT
[Dana walks in and finds Alice laying on the bed, crying.]
Dana: Al? (worried) Alice, what happened?
Alice: I was calling your phone, you weren't answering. Where were you?
Dana: I was there, where were you?
Alice: I... I... I thought I lost you.
Dana: I'm right here. (quietly) I'm right here.
EXT. - LA SKYLINE - MORNING
[Another beautiful morning in L.A. The skyline is framed by the mountains in the distance. Smog hangs low over the city.]
INT. - JENNY & SHANE'S HOUSE - KITCHEN - MORNING
[Mark is making pancakes. Jenny comes in and sits at the table.]
Jenny: That smells good.
Mark: Thanks.
Jenny: May I have one?
Mark: Of course.
Jenny: Thank you.
INT. - TINA'S APARTMENT - BEDROOM - MORNING
[Tina is still sleeping.]
EXT. - LA - HOLLYWOOD HILLS - MORNING
[Palm trees sway in the breeze.]
INT. - BETTE'S HOUSE - KITCHEN - MORNING
[Bette is at the stove, pouring herself some hot water from a kettle. She's softly humming "Rusty Old Halo".]
LIVING ROOM -
[Melvin groans. He slowly turns his head to look at the photos of his family by the bed, then he is still.]
KITCHEN -
[Bette stops and looks up.]
Bette: Daddy?
[Bette walks slowly to the living room, fearful.]
Bette: Daddy?
[Bette jogs over to her father's bedside, calling out to her sister down the hall.]
Bette: Kit!
[Bette kneels by the bed and looks at her father.]
Bette: Daddy?
[Kit runs into the room.]
Bette: Daddy? Daddy! Daddy?!
[Kit kneels by the bed. Melvin doesn't respond to Bette's pleas. She puts her head on Melvin's chest and sobs. Bette rests her head on Melvin's chest, holding his hand, crying. We see a closeup of her face; her eyes are open and she looks shocked.]
[Kit sobs.]
[Fade to black]
[Titlecard: Dedicated to the memory of Ossie Davis]
- END -