c63c5b96aac5c5c1d059d839580344f80e456bd4
movie
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if ( window
. THE END
 Set over Thanksgiving weekend, 1973, the film centers around Ben and Elena Hood, and their children, 16-year-old Paul and 14-year-old Wendy, and their neighbors, Jim and Janey Carver, and their children: Mikey and Sandy.
Ben, dissatisfied in his marriage and with the futility of his career, is having an affair with Janey. Elena is bored with her life and is looking to expand her thinking but is unsure of how to do so. Wendy enjoys sexual games with her school peers, as well as both Carver boys. Paul has fallen for a classmate, Libbitz, at the boarding school he attends, though his roommate Francis is also interested in her.
On the Friday night after Thanksgiving, Ben and Elena have an argument when she learns of his affair with Janie, but they go ahead with their plans to attend a neighborhood party, which turns out to be a key party", where married couples swap sexual partners by having wives select other husbands' keys from a bowl; Jim and Jamie are also there. As the party progresses, Ben becomes drunk. When Janey chooses the keys of a handsome young man, Ben attempts to protest but trips and knocks his head on the coffee table, leading Jim to realize that his wife and Ben are having an affair. Ben, in his embarrassment, retreats to the bathroom where he remains for the rest of the evening. The remaining key party participants are paired off and leave together with only Jim and Elena remaining. She retrieves Jim's keys from the bowl and returns them to him. After debating the issue, Jim and Elena leave together, engaging in a quick, clumsy sexual encounter in the front seat of Jim's car. Jim, regretting the line he and Elena have just crossed, offers to drive her home.
Wendy decides to make her way to the Carvers' to see Mikey, but he has decided to go out into the ice storm, so she and Sandy climb into bed together and remove their clothes. They drink from a bottle of vodka and Wendy tries to seduce him; however, they both fall asleep.
Paul is invited to Libitz' apartment in Manhattan, though upon arriving, is disappointed to learn that Francis was also invited. The three drink beer and listen to music; Francis and Libitz also take prescription pills found in Libitz' mother's medicine cabinet, causing them to eventually pass out. Paul decides to leave, just narrowly making the train about to leave for New Canaan.
Meanwhile, Mikey, out walking in the storm, is enchanted by the beauty of the trees and fields covered in ice. He slides down an icy hill then sits on a guardrail to rest. A moment later a power line, broken by a fallen tree, connects with the guardrail and he is electrocuted.
Jim and Elena become stuck, due to a downed tree, and return to the Carvers' house as dawn is breaking. Elena walks in on her daughter in bed with Sandy and orders her to get dressed.
Janey had also returned home earlier and curled up on her bed in the fetal position without bothering to take off her party clothes. Although it is not revealed what transpired between Janey and her 'key partner', she is visibly exhausted and sad.
Ben has sobered up by this time and begins driving home. He discovers Mikey's body on the side of the road and carries it back to the Carvers' house. The two families are drawn together by Mikey's death and Wendy hugs the shocked and numbed Sandy in an attempt to comfort him. Jim is devastated while Janey remains asleep and ignorant to the recent events. Ben, Elena and Wendy then drive to the train station to pick up Paul, who is returning from Libbits' apartment, his train delayed by the ice and the power failure caused by the downed wire. Once all four are together in the car, Ben breaks down, sobbing uncontrollably at the wheel as Elena starts comforting him.
Set over Thanksgiving weekend , 1973 , the film centers around Ben and Elena Hood , and their children , 16-year-old Paul and 14-year-old Wendy , and their neighbors , Jim and Janey Carver , and their children : Mikey and Sandy . Ben , dissatisfied in his marriage and with the futility of his career , is having an affair with Janey . Elena is bored with her life and is looking to expand her thinking but is unsure of how to do so . Wendy enjoys sexual games with her school peers , as well as both Carver boys . Paul has fallen for a classmate , Libbitz , at the boarding school he attends , though his roommate Francis is also interested in her . On the Friday night after Thanksgiving , Ben and Elena have an argument when she learns of his affair with Janie , but they go ahead with their plans to attend a neighborhood party , which turns out to be a key party , where married couples swap sexual partners by having wives select other husbands ' keys from a bowl ; Jim and Jamie are also there . As the party progresses , Ben becomes drunk . When Janey chooses the keys of a handsome young man , Ben attempts to protest but trips and knocks his head on the coffee table , leading Jim to realize that his wife and Ben are having an affair . Ben , in his embarrassment , retreats to the bathroom where he remains for the rest of the evening . The remaining key party participants are paired off and leave together with only Jim and Elena remaining . She retrieves Jim s keys from the bowl and returns them to him . After debating the issue , Jim and Elena leave together , engaging in a quick , clumsy sexual encounter in the front seat of Jim s car . Jim , regretting the line he and Elena have just crossed , offers to drive her home . Wendy decides to make her way to the Carvers ' to see Mikey , but he has decided to go out into the ice storm , so she and Sandy climb into bed together and remove their clothes . They drink from a bottle of vodka and Wendy tries to seduce him ; however , they both fall asleep . Paul is invited to Libitz ' apartment in Manhattan , though upon arriving , is disappointed to learn that Francis was also invited . The three drink beer and listen to music ; Francis and Libitz also take prescription pills found in Libitz ' mother s medicine cabinet , causing them to eventually pass out . Paul decides to leave , just narrowly making the train about to leave for New Canaan . Meanwhile , Mikey , out walking in the storm , is enchanted by the beauty of the trees and fields covered in ice . He slides down an icy hill then sits on a guardrail to rest . A moment later a power line , broken by a fallen tree , connects with the guardrail and he is electrocuted . Jim and Elena become stuck , due to a downed tree , and return to the Carvers ' house as dawn is breaking . Elena walks in on her daughter in bed with Sandy and orders her to get dressed . Janey had also returned home earlier and curled up on her bed in the fetal position without bothering to take off her party clothes . Although it is not revealed what transpired between Janey and her key partner ' , she is visibly exhausted and sad . Ben has sobered up by this time and begins driving home . He discovers Mikey s body on the side of the road and carries it back to the Carvers ' house . The two families are drawn together by Mikey s death and Wendy hugs the shocked and numbed Sandy in an attempt to comfort him . Jim is devastated while Janey remains asleep and ignorant to the recent events . Ben , Elena and Wendy then drive to the train station to pick up Paul , who is returning from Libbits ' apartment , his train delayed by the ice and the power failure caused by the downed wire . Once all four are together in the car , Ben breaks down , sobbing uncontrollably at the wheel as Elena starts comforting him .
http://en.wikipedia.org/wiki/The_Ice_Storm_(film)
The Ice Storm (film)
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<title>The Ice Storm by James Schamus. Based on the novel by Rick Moody. First Draft Revised January 5, 1996</title>
</head>
<pre>

<b>EXT. TRAIN - DARKNESS BEFORE DAWN
</b>
Suburban Connecticut, outside of New York City, 1973. The
still after a terrible storm. Trees dripping, their branches
torn, the air warming just before the break of a new day. The
train lies dark and motionless, a few flashing yellow
emergency lights up front, as a work crew removes debris from
the track.

<b>INT. TRAIN. PRE-DAWN
</b>
Various passengers, huddled uncomfortably, cold, asleep.

On Paul Hood, 15-and-a-half, stoner-preppie look, hunched up
in his seat under the faint emergency exit light. He reads
his Fantastic Four comic book by the pale light of the
emergency exit sign.

Suddenly, the lights begin to flicker on and the hum of the
train's engines returns.

The conductor enters the car, blasting forth in his classic
nasal voice.

<b>			CONDUCTOR 
</b>	Good morning ladies and gentlemen --

He sounds like a baseball announcer.

<b>			PASSENGERS
</b>		(mumbling, ad lib)
	What ladies?

<b>			CONDUCTOR 
</b>	-- this train originating at New
	York's Grand Central Station is
	back in service - next stop will be
	New Canaan, Connecticut. New
	Canaan, Connecticut, next stop!

He moves on to the next car.

The train begins to move.

Paul rubs his elbow against the window and looks out into the
still-dark early morning.

He looks back down at his comic book.

On the comic book: Reed Richards (also known as Stretch) has
zapped his young son with a cosmic ray gun to neutralize the
destructive energy that Annihilus has implanted in him. 

The Thing, Medusa, Flame, and Richards' wife Sue Storm look
on, stunned.
<b>	"THEN YOU'VE TURNED HIM INTO A
</b><b>	VEGETABLE. YOUR OWN SON." "DON'T
</b><b>	YOU SEE, SUE? HE WAS TOO
</b><b>	POWERFUL... IF HIS ENERGY HAD
</b><b>	CONTINUED TO BUILD, HE WOULD HAVE
</b><b>	DESTROYED THE WQRLD!"
</b>
Paul looks up again, thinking.

<b>			PAUL (V.O.)
</b>	In issue number 141 of The
	Fantastic Four, published in
	November 1973, Reed Richards has to
	use his anti-matter weapon on his
	own son, who Annihilus has turned
	into a human atom bomb. His son is
	the result of Richards' coupling
	with the earthling Sue Storm, and
	the problem is that the cosmic rays
	that infused Richards and the rest
	of the Fantastic Four on their
	aborted moon mission have made
	young Franklin a volatile mixture
	of matter and anti-matter.

<b>EXT. TRAIN BRIDGE. PRE-DAWN
</b>
The train moves slowly through a suburban, semi-forested
landscape.

<b>			PAUL (V.O.)
</b>	And that's what it is to come from
	a family, if you analyze it
	closely. Each of them is negative
	matter for the other ones. And
	that's what dying is -- dying is
	when your family, which is in fact
	your personal negative matter from
	which you emerge -- it's when the
	family takes you back, thus hurling
	you back into negative space...

<b>INT. TRAIN. CONT'D.
</b>
On Paul, as the sun breaks over the horizon. His face glows
warmly in the yellow light. He looks down idly at the comic
book.

<b>			PAUL (V.O.)
</b>	So it's a paradox -- the closer
	you're drawn back in, the further
	into the void you're thrown.

<b>EXT. CONRAIL STATION. EARLY MORNING
</b>
The train slowly pulls in.

The train doors open, and Paul, weary from the long night,
emerges. He sees his family gathered at the other end of the
platform -- Ben, 40, a bit worse for wear but still retaining
traces of his boyish looks; Elena, 37, distant and elegant
even in her oversized sweater; and Wendy, 14, a sullen
suburban Lolita.

He pauses, regarding them.

They stand, silent, even dignified, awaiting him.

<b>EXT. ST. PETER'S SCHOOL. MORNING
</b>
To establish. A typical New England prep school.

<b>INT. PAUL AND FRANCIS'S DORM ROOM. MORNING
</b>
Cramped, a mess, but quaint. Paul shares the room with
Francis Davenport IV, a dissolute, smart-ass son of money.

Paul's alarm clock rings. He slams his hand down on it and
jumps out of bed, fully clothed in his rumpled preppie
uniform of frayed khakis, loose tie, shirt with one tail
untucked in, etc. Across the room, Francis beckons from his
desk, as he finishes loading up a four-foot-high bong.

<b>			FRANCIS 
</b>	Arise and shine, young Hood.

<b>			PAUL 
</b>	I hope you changed the water in
	that bong from last night.

<b>			FRANCIS 
</b>		(finishing a hit)
	The water, as you call it, is a
	special mixture of amaretto and
	Ben&Ben blended for just the exact
	chemical interaction with the last
	of our precious Thai stick.

Paul reluctantly walks over and takes a hit. He coughs,
spewing uninhaled smoke.

<b>			FRANCIS (CONT'D)
</b>	Waste not Master Hood -- that was
	$20 for the bag.

<b>			PAUL 
</b>		(gathering books, papers,
		 almost talking to
		 himself)
	Man, Francis, you are one drug
	addled elitist freak, and when the
	revolution comes I do not want to
	be lined up with you and shot,
	'cause you're fucking ripe for
	political reeducation, you know,
	like in the fields.

<b>			FRANCIS 
</b>	Paul, cancel your mental
	appointments, baby. What are you,
	like still stoned from last night?

<b>			PAUL 
</b>		(spraying some chloroform
		 mouth spray)
	I gotta get to English class.

<b>INT. ST PETERS' CLASSROOM. DAY
</b>
An English class in progress.

Paul Hood sits blankly, hardly listening, until he hears the
teacher call out.

<b>			TEACHER 
</b>	Libbets?

<b>			LIBBETS 
</b>	What Dostoyevsky is saying here is
	that to be a Christian is to
	choose, because you have to choose
	of your own choice, but since you
	can't choose to be good because
	that would be too rational you have
	to choose to be bad -- it's
	existential.

<b>			TEACHER 
</b>	Thank you Libbets, that's a very
	compelling summary, but --

Paul looks at her, smitten. Marge, Paul's friend, notices his
look.

<b>INT. ST. PETER'S HALLWAY. DAY
</b>
As class lets out, Paul accosts Libbets.

<b>			PAUL 
</b>	Um, Libbets. Hey, Dostoyevsky, I'm
	also really a fan, and what you
	were saying, you know, have you
	ever read The Idiot?

<b>			LIBBETS 
</b>	The Idiot?

<b>			PAUL 
</b>	If you liked Notes from
	Underground, you'll love The Idiot.

<b>			LIBBETS
</b>		(turning to go)
	Great, thanks for the tip.

<b>			PAUL
</b>		(after her)
	The Idiot.

<b>INT. ST. PETER'S HALLWAY. DAY
</b>
Paul walks with Marge.

<b>			PAUL 
</b>	I'm in love with Libbets Casey.

<b>			MARGE 
</b>	Yeah, well, you've been in love
	with like every other girl here, I
	was wondering when you'd get around
	to Libbets.

<b>			PAUL 
</b>	It's beyond mere physical
	attraction.

<b>			MARGE 
</b>	That's good, because I don't think
	Libbets is capable of the sex act.

<b>			PAUL 
</b>	Truly? Do speak.

<b>			MARGE 
</b>	My diagnosis is messed in the head.
	A poor little rich girl -- I mean
	check out the jeans and fur look.
	And lend your ears to this
	brutality. Like her mom and step
	dad and her step-sisters are going
	to Switzerland to ski over
	Thanksgiving break -- and like they
	didn't invite her!

<b>			PAUL
</b>	How do you know this shit?

<b>			MARGE 
</b>	They did it last year too. It's
	like traditional or something.
	They've got this humongoid Park Ave
	apartment and she just holes up
	there with a wad of cash. 
		(beat)
	Aren't the hugely wealthy sad?

<b>			PAUL 
</b>		(pause)
	You think Francis is going to beat
	me to the punch here?

<b>			MARGE 
</b>	Since he sleeps with every girl you
	ever show an interest in, why don't
	you just keep your Libbets thing a
	secret from him?

<b>			PAUL 
</b>	Good thinking Marge.

<b>INT. SCHOOL PARTY. NIGHT
</b>
Paul, Francis and friends enter the dark, crowded room.
Various kids are awkwardly dancing to some progressive fm
style undanceable rock (Jethro Tull, etc.) Francis hands Paul
the tail end of a joint, but Paul waves it away.

<b>			PAUL 
</b>	No more man. I'm about to drop as
	it is.

<b>			FRANCIS 
</b>	See ya.

<b>			PAUL 
</b>	Where you going?

<b>			FRANCIS 
</b>	Paul, let me enlighten you about
	something.
	You and I exist on two opposite
	sides of a great existential
	divide, that being your pathetic
	virginity on the one hand and my
	astonishing number of sexual
	conquests on the other. I'm off to
	get laid. See you.

<b>			PAUL 
</b>	Flame on, asshole.

<b>			FRANCIS 
</b>	And remember, with your erogenous
	zones lubricated as such with the
	mighty herb, do not attempt
	terrestrial contact with members of
	the opposite sex -- because you
	drone on like a motherfucker when
	you're stoned.

He waves his fingers toward Paul's eyes, in the classic
"stoned" gesture, then wanders off.

Paul looks on at the gathering. Marge waves to him from the
dance floor.

<b>						LATER:
</b>
<b>INT. SCHOOL PARTY. CONT'D
</b>
Paul wanders, stoned, through the party. He sees Libbets from
across the room. She seems to be surrounded by friends.

<b>INT. PARTY. CONT'D
</b>
Paul has cornered Libbets and is talking over the music.
There are just a few people left, most of them making out
with each other.

<b>			PAUL 
</b>		(stoned)
	-- because I've been reading
	Kerouac and Ginsberg and those guys
	were creating beat culture and
	traveling and sleeping wherever,
	and, of course, with all kinds of
	people, but when you read carefully
	the various contemporary accounts
	of their lives, and, uh, these guys
	didn't bathe much, I mean they were
	really filthy, with like genital
	crabs, lice, exceptionally strong
	body odor...

Libbets smiles through her yawn.

<b>EXT. SCHOOL BENCH. NIGHT
</b>
Paul sits alone on the bench, freezing cold, eating a donut.
Some kids from across the lawn yell good-night to him.

<b>INT. DORM ROOM. EVENING.
</b>
Paul is at his desk. Francis enters, wrapped in a towel,
fresh from the shower.

<b>			PAUL 
</b>	How can you do that man?

<b>			FRANCIS 
</b>	Do what?

<b>			PAUL 
</b>	Sleep all day. I mean, look, it's
	already getting dark outside, and
	you're just getting up.

<b>			FRANCIS 
</b>		(beat)
	Um, Libbets Casey.

<b>			PAUL 
</b>	What?

<b>			FRANCIS 
</b>	Aha! I could sense the vibe.

<b>			PAUL 
</b>	What do you mean?

<b>			FRANCIS 
</b>	Am I right or am I right?

<b>			PAUL 
</b>	Shit. You're not planning --

<b>			FRANCIS 
</b>	My man, I speak to you solely as a
	comrade in arms offering
	unconditional aid. I've been giving
	this one a lot of thought, and I
	believe that the two of you
	together might just reach that
	higher ground that --

A knock at the door.

<b>			STUDENT  (O.S.)
</b>	Hood, telephone.

Paul rolls off his bed, opens the door.

<b>			PAUL 
</b>	Don't mess with Libbets. I mean it!

<b>INT. DORM HALLWAY. NIGHT
</b>
Paul walks to the pay phone at the end of the hall.

<b>			PAUL 
</b>	Hello?

<b>INTERCUT - HOOD HOUSEHOLD. NIGHT
</b>
It's a modern (shag carpet, geometric-patterned wallpaper,
etc.) suburban house.

Ben Hood talks on the phone, a drink in his hand.

<b>			BEN 
</b>	Paul?

In the background, we can see Wendy watching Richard Nixon on
<b>TV.
</b>
<b>			PAUL 
</b>	Hi dad.

<b>			BEN 
</b>	Hey guy. Things ok up there? You
	all right?

<b>			PAUL 
</b>	I'm fine dad.

<b>			BEN 
</b>	Well good. Just confirming. You'll
	be on the 3:50 Wednesday afternoon.

<b>			PAUL 
</b>	Well dad, actually I thought I'd
	take the morning train on
	Thanksgiving -- got a lot of
	studying, papers, you know, lab
	experiments --

<b>			BEN 
</b>	Lab experiments? Right smart guy --
	Paul, you know your mother's gonna
	be disappointed not to see more of
	you -- In fact, let me make this
	more than a simple request guy, I
	think you should...

<b>IN THE BACKGROUND:
</b>
<b>			NIXON
</b>		(on TV, from San Clemente
		 press conference) 
	Well, with regard to the questions
	as to why Americans feel we were
	wrong to make the tapes, that is
	not particularly surprising. I
	think that most Americans do not
	like the idea of taping
	conversations and, frankly, it is
	not something that particularly
	appeals to me...

<b>			BEN 
</b>	Hold on for a second.
		(turning)
	Wendy, you want-to say hi to your
	brother?

She frowns.

<b>			BEN (CONT'D)
</b>	Come on!

She gets up sullenly and goes to the phone.

<b>			WENDY 
</b>	Charles.

<b>			PAUL 
</b>	Charles. Have you been keeping out
	of my shit? Have you refrained from
	entering the sacred precincts of my
	room?

<b>			WENDY 
</b>	I have not touched your sh--
		(looks at father)
	Stuff. You watching this?

<b>			PAUL 
</b>	Watching what?

<b>			WENDY 
</b>	Nixon, doofus! It's incredible. He
	should be shot.

<b>			BEN
</b>		(overhearing)
	Hey, that's the president of the
	goddam United States you're talking
	about, Wendy!

From the kitchen, Elena overhears. She's dressed to go out,
but in the process of making a Kraft macaroni and cheese
dinner for Wendy.

<b>			WENDY 
</b>	He's a liar!
		(still talking more to her
		 father than into the
		 phone)
	Dean told him on March 21st about
	Kalmback and Hunt, all about the
	payoffs to the Watergate burglars,
	so you tell me where the so-called
	"Dean Report" is, but you can't
	because it doesn't exist, because
	he lied about Haldeman and
	Erlichman and the April 17 tape,
	that's why! Liar!

Ben retreats, going to the wet bar to pour another drink.

<b>			BEN
</b>		(muttering)
	OK, OK, the defense rests.
		(to Elena in the kitchen)
	Want another?

<b>			ELENA (O.S.)
</b>	No thank you. We should be off.

<b>			BEN 
</b>	Gotcha.

He puts the bottle back down without pouring.

<b>INTERCUT BACK TO PAUL:
</b>
<b>			PAUL
</b>		(on the phone)
	Hey Charles. Charles, calm down --
	I wasn't in on it.

Elena, putting on her coat, comes into the den and gives
Wendy a kiss on the forehead as Wendy mumbles her good-byes
to Paul on the phone.

<b>			ELENA 
</b>	Dinner's on the counter. We'll be
	at the Williams's -- you know the
	number. 
		(takes the phone from
		 Wendy)
	Paul. Hi. Is there anything you'll
	want, any particular kind of food
	or snack or anything we can stock
	up on?... You're all right? ... OK.
	See you next week. I love you.

Back to Nixon on the TV.

<b>			NIXON 
</b>	We must recognize that one excess
	begets another, and that the
	extremes of violence in the 1960s
	contributed to the extremes of
	Watergate...

On Wendy as she regards the TV, hearing her parents'
farewells as they leave through the front door.

<b>EXT. WILLIAMS HOUSE. NIGHT
</b>
A large New England Colonial, with a few modern additions and
touches. We hear the sound of dinner chatter.

<b>INT. WILLIAMS DINING ROOM. NIGHT
</b>
The kitchen door swings open into the dining room, and Mikey
and Sandy Williams emerge, each holding platters of food.
Mikey, 15-and-a-half, lost in space, and Sandy, 14, a sullen
and barely pubescent boy, each have towels draped over their
forearms -- they are the evening's "waiters".

They move unsteadily to the table, at which sit their parents
Janey (38, a hard-edged, sharp-witted beauty) and Jim (43,
large and a bit goofy, a genius inventor), together with
their guests, Ben and Elena Hood, and neighbors Dorothy and
Ted Franklin.

We jump cut through the evening's conversations, seen mostly
from the furtive POV's of the boys.

<b>			BEN 
</b>	His brother came back --

<b>			DOROTHY 
</b>	From where?

<b>			BEN 
</b>	Vietnam.

<b>			DOROTHY 
</b>	Oh. Are we going to talk about
	this, about...?

<b>			ELENA 
</b>	You should hear. It's very sad, he
	was --

<b>						JUMP CUT:
</b>
Janey is whispering something into Mikey's ear, who returns
to the kitchen.

<b>			JIM 
</b>	It was a benefit for the ACLU or
	something, and Harry Reems himself
	was there --

<b>			DOROTHY 
</b>	The man with the -- from Deep
	Throat?

<b>			JIM 
</b>	The very one -- something about a
	first amendment defense fund --
	well I believe in it --

<b>			DOROTHY
</b>	Ted took me to see it.

<b>			JANEY 
</b>	Ted, how romantic.

<b>			DOROTHY
</b>	I have to say, the movie didn't do
	much for me. But being in that
	theater, surrounded by all those
	horny young college boys and
	perverts, there was something in
	the air that --

<b>						JUMP CUT:
</b>
The boys are pouring wine.

<b>			JIM 
</b>	-- pulls right up to the pump,
	jumps out like there's no gas
	shortage, oblivious, and by this
	point everybody in line's piling
	out of their cars ready to kill the
	guy, when they notice it's that
	Reverend Edwards --

<b>			BEN 
</b>	The Unitarian? The new one?

<b>			JIM 
</b>	Yeah -- claims he pulled off Creek
	Road and didn't notice the line
	going back Mill Street for half a
	mile.

<b>			BEN 
</b>	He's either got his head in the
	clouds or up his --

<b>			DOROTHY 
</b>	I hear he's slept with half the
	women in his congregation --

<b>			TED 
</b>	Lucky bastard!

As this is said, Mikey accidentally spills some wine on Ben.

<b>			BEN 
</b>	Hell! -- I mean, no problemo there
	Mikey. Here, I --

Janey leans over with her napkin and attempts a cursory wipe
of Ben's pants. Is there a just barely noticeable frisson
between Ben and Janey as she removes the napkin? If there is,
Elena doesn't -- or pretends not to -- notice.

<b>						CUT TO:
</b>
The boys, now in pajamas (Sandy's with padded feet, Mikey's a
combination of t-shirt and pj bottoms) are bringing out
coffee and dessert. The adults eye Mikey's handling of the
coffee pot with some nervousness.

<b>			DOROTHY
</b>		(unconvincing)
	So fascinating. Do you get free
	tickets to the movies, that kind of
	thing?

<b>			BEN 
</b>	No, my job is just to analyze the
	entertainment stocks and advise our
	institutional investors on where to
	put their money. It's --

<b>			ELENA 
</b>	Don't be so modest, Ben. It's a job
	that requires a certain prescience
	with regards to entertainment
	trends. You were the first to
	predict that Billy Jack would be a
	hit --

<b>			BEN
</b>		(with a bit too much
		 conviction) 
	And as usual no one believed me...

Silence.

<b>						CUT TO:
</b>
The dinner party has moved to the living room for after
dinner drinks. Elena remains behind to help Janey pick up the
table. She stacks a plate on top of another.

<b>			JANEY 
</b>	Please don't.

<b>			ELENA 
</b>	It's not a bother.

<b>			JANEY 
</b>	I insist.
		(beat)
	Don't touch them.

Elena realizes that there's an edge to Janey's voice.

<b>			ELENA 
</b>	Oh.

<b>			JANEY
</b>		(realizing she's gone too
		 far)
	It's really quite all right.

<b>			ELENA 
</b>	Of course.

<b>INT. WILLIAMS LIVING ROOM. NIGHT
</b>
The party progresses. Mikey and Sandy are lying on their
stomachs at the top of the stairs, out of sight.

<b>			DOROTHY 
</b>	And to think -- they met at a key
	party of all things.

<b>			ELENA 
</b>	A key party?

<b>			DOROTHY 
</b>	You know, it's a California thing.
	That scuzzy husband of hers dragged
	her kicking and screaming to one
	when they were out in L.A. you
	know, the men put their car keys in
	a bowl, and then at the end of the
	evening the women line up and fish
	them out and go home with whoever's
	keys they've got. Anyhow that's how
	she met this Rod person or whatever
	his name is and he's left his wife
	and she's packing for California.
	Irwin is devastated. It's so
	ironic.

<b>			JANEY
</b>	Ironic? 

<b>			DOROTHY
</b>		(caught out)
	Well, um, yes. Ironic. His name is
	Rod.

<b>INT. WILLIAMS FRONT HALLWAY. NIGHT
</b>
The guests are leaving. The men shake hands, the women kiss,
and the men and women awkwardly peck each others' cheeks.

<b>			ELENA 
</b>	Thank you Janey.

<b>			DOROTHY 
</b>	It was lovely!

<b>			BEN 
</b>	Hey Jim, next time you've got to
	fill me in on whatever it is you're
	up to these days.

<b>			JIM 
</b>	Will do.

<b>INT. STAIRWAY. NIGHT
</b>
At the top of the stairs, a rather dejected Sandy and Mikey
finish spying on the leave-takings below. Mikey nudges Sandy,
and they silently head back the upstairs hall.

<b>INT. MIKE'S ROOM. NIGHT
</b>
They enter Mike's room -- the door has a "nuclear waste 
positively no admittance" sign on it.

As Mikey reaches his bed, he doubles over, groaning, and
starts to make retching noises. He then throws himself onto
the bed, his head leaning over the far side.

Sandy walks over and sees a pile of vomit next to the bed.
Taken aback for a moment, he then reaches forward and picks
it up -- it's fake plastic vomit. He throws it on top of
Mike's back, but Mikey doesn't take notice.

<b>			SANDY
</b>	Stupid!
		(pause, looking sullenly
		 at Mike's back)
	Is Wendy Hood your girlfriend?

<b>			MIKEY
</b>		(not looking up, but
		 alarmed)
	Who said so?

<b>			SANDY
</b>	No one.

<b>			MIKEY
</b>	I don't have a girlfriend.

Mikey returns to his reading -- a copy of The Sensuous Woman,
obviously well pawed over. He absentmindedly picks his nose.
As he flips the pages, a beautiful, almost electrical HUMMING
SOUND begins to fill his ears. He frowns and pauses to listen
to it.

Sandy, who has picked up a balsa wood miniature plane,
obviously doesn't hear it.

Mikey focuses on the plane as Sandy waves it through the air.
Perhaps the hum is the sound of its engines as it soars
through the sky...

<b>INT. WENDY'S BEDROOM. NIGHT
</b>
There is a large poster of a cartoon version of Richard Nixon
"Tricky Dick" -- on her wall. Wendy is on the phone to her
friend Beth.

<b>			WENDY 
</b>	-- he knows that when the March
	24th tape -- you know with Dean,
	where Dean tells him that there's a
	cancer growing on the presidency --

She pauses as Beth asks a question.

<b>			WENDY (CONT'D)
</b>	Who? No way. He's like a big
	infected whitehead wearing jeans. I
	wouldn't --

She hears the downstairs door open.

<b>			WENDY (CONT'D)
</b>		(whispering)
	-- shit, it's my parents.

She turns her light out.

<b>INT. HOOD UPSTAIRS HALLWAY. NIGHT
</b>
Ben and Elena walking past Wendy's room to their bedroom.

<b>			BEN 
</b>	You'd think she'd learn how to cook
	a chicken, eh? My drumstick was
	still frozen when you cut inside
	there. I'm probably going to get
	whatever that disease -- and Jim,
	how that guy ever became a
	millionaire --

He pauses before a hall table, and, with his eyes, traces the
telephone cord under Wendy's room.

<b>			BEN (CONT'D)
</b>	Hmm. I knew she'd still be up.
	Watch this --

But Elena simply continues into the master bedroom.

He starts to pull gently on the cord. And continues pulling.
No response for a few seconds. Then:

<b>CONTINUED: 25
</b>
<b>			WENDY (O.S.)
</b>		(yelling behind her door)
	Dad stop it!

<b>			BEN 
</b>	Get to sleep young lady -- and I
	mean it.

Wendy opens the door to her room.

<b>			WENDY 
</b>	Fascist!

<b>			BEN 
</b>	If I were a fascist I would have
	sent you to one of those Southern
	military academies a long time ago.
	Now get to bed.

She slams the door.

He opens it.

<b>INT. WENDY'S BEDROOM. NIGHT 
</b>
Ben enters the room, angry.

<b>			BEN 
</b>	Hey!

Wendy jumps into bed and under the covers, pulling them up
over her head. He stands over her, looking down at the
crumpled pile of sheet and blanket.

<b>			BEN (CONT'D)
</b>		(softening)
	Hey, kiddo. Sleep well, huh.

He places his hand where her cheek should be, and caresses
the sheet.

<b>			WENDY
</b>		(without pulling the sheet
		 down, but nicely)
	Good-night dad.

<b>			BEN 
</b>	Good night kiddo.

Ben turns to the door, where he sees a silent Elena standing
in her nightgown, a slight smile on her face.

<b>INT. HOOD BEDROOM. NIGHT
</b>
Elena is sitting cross-legged, eyes closed, on her side of
the bed. We hear the toilet flush from the master bath, and
see Ben emerge in his boxers. He pauses in front of the bed,
looking at Elena.

<b>			ELENA
</b>		(without opening her eyes)
	You're staring at me.

<b>			BEN 
</b>	I wasn't star--

<b>			ELENA 
</b>	I've been thinking, Ben, about
	Wendy. I was going to ask if she'd
	come with me sometime to meet Dr.
	Woolens.

<b>			BEN 
</b>	That shrink -- the one you always
	wanted me to see? I thought you
	dropped him.

<b>			ELENA 
</b>	I did, but -- somebody should
	probably see her, talk to her...
	You think she's ok?

<b>			BEN 
</b>	Why shouldn't she be?

Elena just gives him a look, more sad than angry.

<b>			BEN (CONT'D)
</b>		(pause)
	Then again, why should she be? I
	mean with us, with our...

<b>			ELENA 
</b>	So maybe you'll come too?

<b>			BEN 
</b>	Oh not again Elena! If we've got
	problems, why can't you just come
	out and talk about them.

<b>			ELENA 
</b>	It's you Ben who needs to talk.
	I've had my say, and I'm waiting to
	hear back from you.

<b>			BEN 
</b>	Yeah but Elena, even you don't
	believe all that "I'm OK. You're
	OK" stuff you keep babbling about --
	you say so yourself. I've been all
	ears for about ten years now on his
	subject, and --

<b>			ELENA 
</b>	-- And you haven't moved out yet.
	It's because you're too lazy, Ben.
	Too scared or lazy to either deal
	with us or simply make a decision --

<b>			BEN 
</b>	Elena.

Silence.

<b>			ELENA 
</b>		(sighing)
	Sleep in the study? Please.

Ben picks up a pillow and walks out, pausing wistfully at the
door.

<b>			BEN 
</b>	Good night.

<b>			ELENA 
</b>	Good night.

<b>INT. WENDY'S ROOM. NIGHT
</b>
Wendy hears her parents' door close and sees a strip of light
illuminate under her door as the hall light goes on, then
off.

<b>EXT. MANHATTAN OFFICE BUILDING. DAY
</b>
A nondescript, cleanly "modern" building. Engraved on the
doors: "Shackley and Schwimmer, Securities Brokerage -
Established 1964"

<b>INT. SHACKLEY AND SCHWIMMER CONFERENCE ROOM. DAY
</b>
Ben, seated, is finishing a brief presentation to a small
group of men, which includes George Clair, mid-thirties,
unctuously handsome.

<b>			BEN 
</b>	But what, exactly, is stagflation,
	this mixture of inflation and
	stagnation, and how should we in
	the securities industry understand
	and accommodate it? Well -- and I
	hope I'm not out of bounds here -
	think of the money supply as a
	large male organ, continuously
	inflating, and yet, the societal
	vaginal cavity simply wants more.
	As the vicious circle of higher
	returns without real satisfaction
	continues, the money-organ may seem
	to be in demand, but in fact even
	the most inflated capital is
	unwanted. This is why I suggest
	that while we engage this mawing
	abyss for the highest returns, we
	at the same time fantasize, so to
	speak, of the safe harbor of
	capital appreciation.

The aging boss nods agreement.

<b>			SHACKLEY
</b>		(more or less mumbling)
	Brilliant, brilliant.

George Clair just grins.

<b>INT. BEN HOOD'S OFFICE. DAY
</b>
Ben is gathering papers, readying to leave. He looks up to
see George Clair in his doorway.

<b>			GEORGE 
</b>	Hey there Benjie, you're becoming
	quite the in-house philosopher.
	When do you have time to think up
	all that stuff -- Shackley sure
	eats it up.

<b>INTERCUT HALL IN FRONT OF BEN HOOD'S OFFICE
</b>
As we see that Clair is deftly fondling Hood's attractive
secretary as she is seated in the cubicle beside the door to
his office. She looks up coyly at Clair, hidden for the
moment from Ben's view.

Ben comes out of his office, pulling his coat on. Clair and
the secretary pull back, but it's clear that Ben has some
sense of what's transpiring between them.

<b>			BEN 
</b>	George, I'm just trying to get a
	global view of things -- can't just
	look at the small picture.

There's an obvious rivalry between the two of them.

<b>			GEORGE 
</b>	And speaking of which, you have
	those market share charts Mr.
	Shackley was asking about?

<b>			BEN 
</b>	Gotcha George, not a problem.
	Tomorrow. Hey, you want to start
	covering the old filmed
	entertainment sector yourself?

<b>			GEORGE 
</b>	Ben you know that's your territory 
	- and I wouldn't dream to trespass 
	- you're the expert. Hey, how do
	you think Paramount's gonna do with
	that Blatty novel, what's it
	called? The Exorcist?

<b>			BEN 
</b>	Overpriced bomb, cost over $6
	million -- no stars, and no one's
	into the horror genre these days
	anyway. I'm advising the company
	recommend reducing positions there.
	It's disaster films that are gonna
	stay at the top.

<b>			GEORGE 
</b>	Brilliant. Hey, you heading out a
	little early today?

<b>			BEN 
</b>	Got a meeting uptown.

<b>			GEORGE
</b>		(already moving off)
	Right o'.

<b>			BEN 
</b>	Up the organization!
		(then, to himself)
	Bastard.

The secretary pretends not to hear.

<b>EXT. UNIVERSITY CLUB. DAY
</b>
An august New York institution. To establish.

<b>INT. CLUB RESTAURANT. DAY
</b>
A stuffy, Ivy League atmosphere. A decades-old tradition of
serving overcooked American food. Ben is seated across from
his father, Harold Hood, a retired curmudgeon. There is a
walker parked by Harold's chair.

<b>			HAROLD
</b>		(waylaying a passing
		 waiter) 
	I'd asked for that double martini
	about three hours ago!

<b>			WAITER 
</b>	Coming right up, sir.

<b>			HAROLD 
</b>	So asking me out for lunch -- what
	prompted this exceptional event? --
	Of course I'm paying.

<b>			BEN 
</b>	We don't have to always go to your
	club, dad.

<b>			HAROLD 
</b>	And why are you still calling me
	dad? You're forty years old
	already, and --

<b>			BEN 
</b>	-- Well what am I supposed to call
	you?

<b>			HAROLD 
</b>	That's besides the point.

The martini arrives, along with Ben's beer.

<b>			BEN 
</b>	I was actually trying to see about
	getting a little advice, you know --

<b>			HAROLD 
</b>	Advice? I'm supposed to be getting
	the stock tips from you, Ben.
	Unless - have you quit your job?
	They fired you?

<b>			BEN 
</b>	You know, dah--

He looks up and sees his father slurping his martini, not
paying attention.

<b>			BEN (CONT'D)
</b>	Actually it's not about work, it's
	advice about --

<b>			HAROLD 
</b>	Oh for crying out loud Ben, you
	don't mean to tell me that your
	marriage is going down the drain
	now --

<b>			BEN 
</b>	Well, Elena and I have kind of been
	talking, not really talking, but --

<b>			HAROLD
</b>	-- Your mother, God bless her,
	stood by me for forty-two years --
	we never once contemplated divorce 
	- I assume you're talking here
	about divorce? The very thought --

<b>			BEN
</b>	But dad, you guys truly hated each
	other, I mean really hated each --

<b>			HAROLD 
</b>	-- Waiter! Where's my cobb salad? 
		(back to Ben)
	You want advice Ben? If your big
	brother were still alive I'd have
	him go out into the back yard and
	beat some sense into your head.
	Look kid, you married that woman
	against my advice --

<b>			BEN
</b>	-- What advice? You never --

<b>			HAROLD
</b>	That's besides the point. The point
	is if I'd had any sense in me I'd
	have divorced your mother 40 years
	ago, and that's the truth, and here
	it is, 1972 --

<b>			BEN
</b><b>	-- 73
</b>
<b>			HAROLD
</b>	-- 73, and divorce is as easy as
	paying off a traffic ticket, and
	for crying out loud, Ben, be a man
	and just get it over with. I would
	have if I'd had the chance.

Ben ponders, as the food arrives.

<b>			BEN 
</b>		(weakly)
	But...

<b>			HAROLD 
</b>	But what?

<b>			BEN 
</b>	But I -- well maybe I love her.
	Elena.

His father rolls his eyes and stabs his salad with a fork.

<b>			HAROLD 
</b>	Christ Ben! Make up your mind and
	eat your lunch.

<b>INT. BOOK STORE. DAY
</b>
Elena browses the self-help section. A longish-haired,
slightly gone-to-seed, but still handsome clergyman pauses
next to her. He's wearing an ecclesiastical collar and bell
bottoms.

He pulls out a copy of Me, Myself and I, glancing again at
Elena.

<b>			PHILIP 
</b>	Elena. Elena Hood, am I right?

<b>			ELENA 
</b>	Yes.

<b>			PHILIP 
</b>	Reverend Edwards. Philip Edwards.
	You came by and checked out the
	congregation a couple of times last
	year.

<b>			ELENA 
</b>	Yes, it was -- I ended up --

<b>			PHILIP
</b>		(smiling)
	No need to make excuses --

<b>EXT. NEW CANAAN HIGH SCHOOL FIELD. DAY
</b>
A cool gray afternoon. A group of boys are playing flag
football on the field, while two groups of girls are gathered
underneath the bleachers at either end, warily smoking
c1garettes.

Wendy, Beth, and a couple of other girls are gathered in one
group.

<b>			BETH
</b>		(referring to one of the
		 girls gathered in the
		 other group)
	She said you licked Dave Brewster's
	weenie in the third floor bathroom.

<b>			WENDY 
</b>	She's a liar. I wouldn't touch Dave
	Brewster's dick if you paid me.
	It's probably crawling with v.d.
	after he put it in her, which he
	did.

The conversation peters out at this point, as the two groups
of girls give each other the hairy eyeball from afar.

Wendy looks through from beneath the bleacher seats onto the
field where the boys are playing.

A group of boys break from a huddle, Mikey among them.

The quarterback takes the hike and Mikey runs out for a pass.
As he runs, his breathing increases in volume, filling his
ears, and transforming into the humming sound he'd heard
before.

The quarterback spots him and throws a long one.

He runs in an oblivion of beautiful white sound.

The ball drops next to him as he continues, in a world of his
own, to run.

Suddenly, the humming ends and he stops and turns around, to
see all the other kids just standing there looking at him.
One of them makes a pot-smoking gesture, as if that's the
explanation.

<b>			MIKEY
</b>		(as he returns to the
		 group, ball in hand)
	Did anybody hear that?

The other kids snicker. Wendy looks on, and catches Mikey's
eye for a fleeting moment.

<b>			WENDY 
</b>	I gotta go.

She takes hold of her bicycle and pushes off.

<b>INT. COFFEE SHOP. DAY
</b>
Elena and Philip are seated at a booth.

<b>			PHILIP
</b>	It's been a tremendously
	transformative year -- maybe a
	little controversial of course, but
	we're breaking down the old
	Unitarian barriers --

<b>			ELENA 
</b>	I suppose my reluctance was the
	group aspect of it -- I've never
	been much of a joiner, although I
	still consider myself a somewhat
	religious person --

<b>			PHILIP 
</b>	Well I of course flatter myself
	that our church is not exactly what
	most people would call organized
	religion -- at times it's the
	disorganization that's liberating --
	and of course I've begun to
	minister much more in what one
	might call therapeutic
	environments, in small groups, and
	one on one, couples --

Elena looks outside the window, and sees Wendy speed past on
her bicycle.

<b>			ELENA 
</b>		(cutting him off)
	My daughter. I haven't been on a
	bike for years.
		(still not really looking
		 at him)
	When was the last time you rode a
	bike?

<b>			PHILIP
</b>		(a bit taken aback by the
		 abrupt topic change)
	They say you never forget.

<b>			ELENA
</b>		(jarred back to his
		 presence) 
	Forget what?

<b>			PHILIP 
</b>	Forget how to ride a bike.

Silence.

<b>			ELENA 
</b>	No, of course you don't, you're
	right.

<b>EXT. FIVE AND DIME STORE. DAY
</b>
Wendy pulls her bike up to the back, locks it, and walks in.

<b>INT. FIVE AND DIME STORE. DAY
</b>
Wendy moves with a certain amount of stealth through the
aisles, arriving at the candy selection.

She looks around.

She takes a package of twinkies and slips them into the
oversized pockets of her painter's pants.

She turns around, and her breath goes out of her -- an OLD
WOMAN has been watching her shoplift. The woman looks sadly
at her, but says nothing. Wendy slowly walks past her and out
the back door of the store. The woman looks on.

<b>EXT. FIVE AND DIME STORE. DAY
</b>
As she walks her bike onto the sidewalk, Wendy comes across
Sandy.

<b>			SANDY
</b>	Hey Wendy.

<b>			WENDY
</b>	Hey Sandy.

<b>			SANDY
</b>	Mikey was looking for you.

<b>			WENDY
</b>	Yeah? See ya.

She pushes off on her bike.

Sandy gazes after her. He takes his G.I. Joe out of his coat
pocket, and points it at her.

<b>			SANDY 
</b>	Bam.

<b>EXT. SUBURBAN STREETS. DAY
</b>
Wendy flies along on her bike. It's a desolately beautiful
fall day.

<b>EXT. SILVER MEADOWS PSYCHIATRIC INSTITUTE. DAY
</b>
Wendy rides by the front gates of the posh grounds of the
private psychiatric clinic. A security guard leans against a
booth.

Once a bit past the gate, she gets off her bike and walks it
into a grove of trees near the front drive.

<b>EXT. SILVER MEADOWS. DAY
</b>
Mikey is waiting amid the trees next to his bike as Wendy
arrives.

<b>			MIKEY 
</b>	Want some gum?

<b>			WENDY 
</b>	Sure.
		(pulling them out of her
		 pocket)
	Twinkie?

<b>			MIKEY
</b>		(opens his mouth,
		 displaying the gum on his
		 tongue)
	I'm chewing.

She puts the Twinkies back, and pops the gum in her mouth.

They stand together chewing.

<b>			WENDY
</b>		(after a pause)
	Did you tell Sandy?

<b>			MIKEY 
</b>	Tell Sandy? What?

Wendy doesn't say anything.

<b>			MIKEY (CONT'D)
</b>	You didn't tell him either, did
	you?

<b>EXT. SILVER MEADOWS SWIMMING POOL. DAY
</b>
The wind is picking up and the light is fading. Mikey and
Wendy climb the fence around the pool, which is empty and
half-covered in dead leaves and twigs.

They climb down into the concrete recess and walk into the
deep end, leaning against the far wall of the pool.

They each matter-of-factly take their gum out and put it
behind their ears.

They begin not so much to kiss as to place their tongues in
each others' mouths.

We see them from high above the pool, as the dead leaves
swirl lightly around them, Mikey groping under Wendy's
poncho.

<b>EXT. WILLIAMS HOUSE. DAY
</b>
To establish.

<b>INT. WILLIAMS GUEST ROOM. DAY
</b>
A couple are in the final throes of lovemaking. We see Janey
Williams's face, more or less enjoying the proceedings. The
man gives a final heave and groan, and rolls off to reveal
himself to be -- Ben Hood.

<b>						JUMP CUT TO:
</b>
Janey smokes a cigarette. Ben is babbling.

<b>			BEN
</b>	We were golfing, and you know,
	golfing to me is something I'm
	supposed to enjoy, and I was on the
	goddam golf team in college, so
	it's something one would assume I
	do well -- I used to do well -- but
	basically these days golfing for me
	is like hoeing, or plowing.

Janey smiles briefly at this.

<b>			BEN (CONT'D)
</b>	It's like farming. I am basically
	chewing up large tracts of
	expensively landscaped scenery with
	overpriced sticks, and George Clair
	has obviously, in the mere two
	years since he joined the firm, he
	has obviously been taking secret
	lessons with a golf pro, and I
	assume the entirety of his
	disposable income has been devoted
	to humiliating me on the golf
	course. And the guy talks -
	incessantly -- throughout the
	entirety of the miserable 18 holes 
	- on topics that are the supposed
	domain of my department --

<b>			JANEY
</b>	Ben--

<b>			BEN
</b>	Yeah?

<b>			JANEY
</b>		(gently)
	You're boring me. I have a husband.
	I don't particularly feel the need
	for another.

<b>			BEN
</b>	You have a point there. That's a
	very good point. We're having an
	affair. Right. An explicitly sexual
	relationship. Your needs. My needs.
	You're absolutely right.

<b>			JANEY
</b>	You should probably get dressed.
	The boys will be home soon.

<b>			BEN
</b>	Gotcha.

She wraps a blanket around herself and gets up.

<b>EXT. BACK OF WILLIAMS HOUSE. EVENING
</b>
Ben cautiously walks out he back door and heads for the side
gate.

<b>INT. HOOD KITCHEN. EVENING
</b>
Wendy enters the house as Elena is finishing supper
preparations.

<b>			WENDY 
</b>	Hi mom.

<b>			ELENA 
</b>	Hi Wendy.

Without waiting for instructions, Wendy starts pulling out
plates and silverware and setting the table.

<b>			ELENA (CONT'D)
</b>	I saw you on your bike today.

<b>			WENDY 
</b>	With Mikey?

<b>			ELENA 
</b>	Who?

<b>			WENDY 
</b>	Nobody.

<b>			ELENA 
</b>	Mikey Williams?

<b>			WENDY 
</b>	We were just riding around.

Elena takes this in.

<b>			ELENA 
</b>	Well, you looked very -- free --
	when I saw you.

Wendy continues setting the table.

<b>			ELENA (CONT'D)
</b>	Weightless almost -- as if I were
	seeing my own memories of being a
	girl. There was something internal
	about it.

<b>			WENDY 
</b>	Mom. Are you ok?

<b>			ELENA 
</b>	Wendy, of course. I'm sorry. You
	must think I'm ripe to be checked
	into Silver Meadows.

<b>			WENDY 
</b>	You're not a psycho!

<b>			ELENA 
</b>	The people at Silver Meadows aren't
	psychos.

<b>			WENDY 
</b>	I know. They're rich drug addicts
	and celebrities. When I saw James
	Taylor there, and --

<b>			ELENA 
</b>	We've been through this Wendy 
	James Taylor was actually at that
	clinic up near Boston.

<b>			WENDY 
</b>	Well, I saw what I saw, and if you
	don't want to believe me --

<b>			ELENA 
</b>	Oh Wendy.

Wendy frowns.

<b>			WENDY 
</b>	They need the money for my band
	uniform at school.

<b>			ELENA 
</b>	I thought you quit the band - I
	never hear you practice anymore.

<b>			WENDY 
</b>	I don't really need to practice. I
	just play a few notes, you know, so
	I thought maybe I'd stay in.

<b>			ELENA 
</b>	Well, I'm sure your father and I
	would love to hear what you're
	playing these days. Maybe after
	dinner.

<b>INT. HOOD LIVING ROOM. NIGHT
</b>
Ben and Elena take their seats on the sofa. Wendy stands
before them holding an enormous trombone, with a music stand
and sheet music in front of her.

She puffs a series of seemingly disconnected notes in waltz
time.

When she's done, she looks up from the sheet music to her
parents.

They applaud.

<b>			BEN
</b>	Can't wait to see how it fits in
	with all the other instruments.

Elena gives him a look.

<b>INT. HOOD KITCHEN. NIGHT
</b>
Elena is sorting through bills and writing checks at the
kitchen table. Ben comes in and fills a glass with ice.

<b>			ELENA
</b>	The Halfords have invited us again
	this year.

<b>			BEN
</b>	You want to go?

<b>			ELENA
</b>	What do you think?

<b>			BEN
</b>	Well, it is a neighborhood
	tradition.

He comes up behind her, looks down at the checkbook.

<b>			BEN (CONT'D)
</b>	I'm, uh, going to bed.

<b>			ELENA
</b>	So early?

<b>			BEN
</b>	Rough day. Good night.

He leans over and kisses her on the cheek. She sniffs.

<b>			ELENA
</b>	Is that a new aftershave?

He recoils a bit.

<b>			BEN 
</b>	Oh yeah. Musk, or something. You
	like it?

<b>			ELENA 
</b>	Hmm. Good night.

He walks uncertainly from the room. Does she suspect?

<b>INT. MIKE'S ROOM. NIGHT
</b>
Mikey is painfully at work writing an English essay. Sandy
comes to the door with a geometry textbook.

<b>			SANDY 
</b>	Mikey?

<b>			MIKEY 
</b>	Yeah?

<b>			SANDY 
</b>	Geometry?

<b>			MIKEY 
</b>	Sure, anything but this English.

Sandy puts the open textbook in front of him.

<b>			SANDY 
</b>	Why are you so good at math but not
	in English?

<b>			MIKEY 
</b>	I'm not good at math. Just
	geometry.

He looks at the book.

<b>			MIKEY (CONT'D)
</b>		(drawing out his examples
		 on a piece of paper) 
	It's like, you know when they say
	"two squared"? And you think it
	means 2 times 2, equals 4? But
	really they really mean a square. A
	square with a side of two. And the
	area of the square is four. Like
	every time you use the word, like
	squared, or cubed, it's really
	space, it's not numbers, it's
	space.
	And it's perfect space, but only in
	your head, because you can't draw a
	perfect square, like in the
	material world, but in your mind,
	you can have perfect space.
		(pause)
	You know?

As Mikey goes on, we see his geometric doodles, and hear
faintly the HUMMING SOUND under his voice.

<b>			SANDY
</b>	Yeah. But I just need some help
	with my homework.

A knock at the door. Jim stands in the doorway with a
suitcase in his hand.

<b>			JIM 
</b>	Hey guys, I'm back.

<b>			MIKEY
</b>		(honestly confused)
	You were gone?

Sandy looks at Mikey as if pondering a lost cause.

<b>			JIM
</b>		(a look of
		disappointment) 
	Yeah Mikey. Yep, I was in Houston,
	working on some great new ideas
	about silicon, which comes from
	sand, very conductive. How you guys
	doing? How's school?

Mikey's still flustered.

<b>			MIKEY 
</b>	Uh, I dunno. OK I guess.

<b>			JIM 
</b>	Hmm. Alright!

He walks off.

<b>			SANDY 
</b>	You really didn't notice? Man, he's
	been gone for three days.

<b>INT. WILLIAMS BEDROOM. NIGHT
</b>
Janey is reading, still dressed, on the bed. She nods to Jim
as he enters with his suitcase.

<b>			JANEY 
</b>	Good trip?

He nods and puts his suitcase down, then sits heavily on the
side of the bed.

<b>			JIM
</b>		(as he sits)
	You bet.

It turns out it's a water bed, and his weight creates a wave
that nearly pushes Janey off her edge of the bed.

<b>			JANEY 
</b>	Jesus, Jim!

<b>			JIM
</b>		(jumping up, which only
		 creates another wave)
	Sorry honey. Hell, we've got to
	trade this thing in for a normal
	bed.

<b>			JANEY 
</b>	Just be careful.

<b>			JIM
</b>		(as he begins to unpack)
	You notice anything with Mikey
	lately? The kid seemed a little out
	of it tonight, eh?

<b>			JANEY 
</b>	Tonight? Jim, he's been out of it
	since he was born.

<b>			JIM 
</b>	Hell, I guess he takes after me,
	huh?

He laughs to himself.

She gives him a look.

<b>INT. COFFEE SHOP. DAY
</b>
Elena and Philip Edwards are having coffee again.

<b>			PHILIP 
</b>	In many ways, the church-bound
	tradition of the father, son, and
	holy ghost is simply a version of
	the parent-child-adult triad within
	us all. It's a primitive set of
	symbols for our inner psychology.

<b>			ELENA 
</b>	You're saying that Christ is the
	child, and --

<b>			PHILIP 
</b>	-- And God the angry parent, and
	the Spirit the hope of an
	integrated adult self.

<b>			ELENA 
</b>	All well and good -- But tell me
	again what is it exactly that you
	believe in?

<b>			PHILIP 
</b>	You ask what the point is?

<b>			ELENA 
</b>	That's right.

<b>			PHILIP 
</b>	Self-realization. Ministering to
	help people reach their fullest
	potential. Would you believe me if
	I told you I want you to see
	yourself reach your fullest
	potential and self-realization?

<b>			ELENA 
</b>	I would say it sounds like you're
	trying to get me into bed.

<b>			PHILIP 
</b>	If that's a potential you see
	yourself fulfilling... I mean... 
		(flustered)
	My, I sound a bit --

<b>			ELENA 
</b>	I'm sorry. That was stupid of me. I
	didn't mean to be so rude.

<b>			PHILIP 
</b>	You weren't. You actually, for some
	reason, you have the effect on me
	of making me feel just a tiny bit
	ashamed of myself.

<b>			ELENA 
</b>	But not too ashamed.

<b>			PHILIP 
</b>		(smiling)
	Now you are being rude.

<b>			ELENA 
</b>	And you're still trying to get me
	into bed.

<b>			PHILIP 
</b>	Ouch.

Just then, Dorothy Franklin passes by their table, a smirk
firmly implanted on her face.

<b>			DOROTHY 
</b>	Hello you two. Am I barging in on
	some kind of religious study group?
	Elena, you look marvelous. Will I
	see you and Ben at the Halford's?

<b>			ELENA 
</b>	I suppose we'll make an appearance.

<b>			DOROTHY 
</b>	And Reverend Edwards? Did you make
	the list?

<b>			PHILIP 
</b>		(laughing)
	I believe so Mrs. Franklin.

<b>			DOROTHY 
</b>	With the two of you there it will
	be positively a revival! I'm off!

She scurries out of the coffee shop.

<b>			PHILIP 
</b>	I'm afraid she's something of a
	gossip, isn't she?

<b>			ELENA
</b>		(gathering her things to
		 go)
	I'm afraid people around here
	provide her with quite a bit to
	gossip about. 
		(getting up)
	Take care.

<b>			PHILIP 
</b>	That I will indeed.

<b>INT. CLASSROOM. DAY
</b>
Mikey is reading his English paper before the class.

<b>			MIKEY 
</b>	Because of molecules we are
	connected to the outside world from
	our bodies. Like when you smell
	things, because when you smell a
	smell it's not really a smell, it's
	a part of the object that has come
	off of it -- molecules. So when you
	smell something bad, it's like in a
	way you're eating it. This is why
	you should not really smell things,
	in the same way that you don't eat
	everything in the world around you 
	- because as a smell, it gets
	inside of you. So the next time you
	go into the bathroom after someone
	else has been there, remember what
	kinds of molecules you are in fact
	eating.

An embarrassed silence.

<b>INT. SCHOOL MUSIC ROOM. DAY
</b>
Band practice. The New Canaan High School band is doing a
wind version of a popular rock tune.

In front, there's Wendy, in halter top and hip-hugging bell
bottoms, incongruously blowing away on her trombone -- this
being her one stab at extracurricular activities.

In the flute section directly behind her is Sandy, piping
away on a tiny piccolo. He sits on a riser slightly elevated
above her.

He directs downward at Wendy a protracted regard, a look of
intense concentration on his face.

<b>SANDY'S POV:
</b>
Wendy's backside, her pants pushed outward in the back,
affording Sandy a libido-charged view of the top of her bum
crack.

Push in on a close-up of this cherished abstract landscape,
then back to Sandy's furrowed face.

<b>INT. CLUB RESTAURANT. DAY
</b>
Ben and Harold are at their table again. Lunch is being
cleared.

<b>			HAROLD
</b>	It's not the taxes I object to.
	It's all the fines and penalties.

<b>			BEN 
</b>	Alright dad. But you sold the
	house, you didn't tell anyone,
	including the IRS, and I'd of
	certainly liked to have seen if
	there was any old stuff --

<b>			HAROLD 
</b>	It was all junk!

Another pause. Ben decides not to pursue an overworked topic.

<b>			BEN 
</b>	Oh. Elena wanted to know when we
	could expect you on Thanksgiving.
	It's just going to be you this
	year.

<b>			HAROLD 
</b>	Ben, I'm going to Florida. I hate
	Thanksgiving and I hate the cold. I
	have a new nurse. She's a negro,
	she weighs three hundred pounds,
	and I've decided to leave my entire
	estate to her.

Ben spits his drink out.

<b>			BEN 
</b>	What?

<b>			HAROLD 
</b>	Jesus, Benjamin, you're still as
	gullible as ever.

<b>			BEN 
</b>	That was a joke? You don't tell
	jokes.

<b>			HAROLD 
</b>	I thought I'd start trying. If you
	don't mind. But I am going to
	Florida and I do have a new nurse.

<b>INT. TRAIN. EVENING
</b>
Ben sits in the moving train, commuting home. He puts down
his paper to look at this fellow passengers. [NOTE: He is in
the same seat as was Paul at the beginning of the film.]

<b>INT. HOOD DEN. DAY
</b>
Elena sits in a yoga pose.

<b>INT. HOOD GARAGE. DAY
</b>
Elena enters the garage from the kitchen and turns the light
on.

She finds an old bicycle and pulls it out.

<b>EXT. SUBURBAN STREETS. DAY
</b>
Elena rides her bike into town, infused with the girlish
sense of freedom she imagined for her daughter.

Suddenly, there's a pop -- a tire is blown out. She slows
down and gets off the bike. As she bends to look at the
wheel, a station wagon slows near her. The driver's side
window rolls open. It's Janey Williams.

<b>			JANEY 
</b>	Need a lift?

<b>INT. JANEY'S CAR. DAY
</b>
Elena sits in the passenger seat. The two women are obviously
uncomfortable with each other.

Silence.

<b>			ELENA 
</b>	Thanks again. For the dinner.

<b>			JANEY 
</b>	Thanks for eating it. I don't know
	why I even pretend I can cook.

<b>			ELENA 
</b>	I used to know how to cook.

<b>			JANEY 
</b>	It's not like we're too busy.

They smile, barely.

<b>			ELENA 
</b>	I'm thinking of going back to
	school.

<b>			JANEY 
</b>	Social work?

<b>			ELENA 
</b>	How'd you know?

<b>			JANEY 
</b>	Educated guess.

<b>			ELENA 
</b>	I'm that predictable? No, you don't
	have to answer that. It's just that
	with the kids almost grown --

<b>			JANEY 
</b>	You don't have to apologize. I'm
	too much of a cynic. You actually
	seem to be trying to figure things
	out -- don't mind me.

She pulls the car over.

<b>EXT. FIVE AND DIME STORE. DAY
</b>
Janey's car pulls to the curb.

<b>INT. CAR. CONT'D
</b>
<b>			JANEY
</b>	Here you are.

<b>			ELENA
</b>		(opening her door)
	Thanks for the lift. If the bike's
	any bother--

<b>			JANEY 
</b>	None at all. I'll leave it in front
	of your garage. Happy Thanksgiving.

<b>EXT. FIVE AND DIME. CONT'D
</b>
Elena watches the car pull away. She turns and walks into the
store.

<b>INT. FIVE AND DIME. DAY
</b>
Elena moves through the aisles, putting various sundries into
a basket.

She pauses in front of the lipsticks.

She picks up a lipstick, looks at it, then quietly places it
in her pocket.

We see her reflection in the security mirror above the aisle,
as she quickly exits the store.

The middle-aged lady behind the counter watches her leave.

<b>EXT. FIVE AND DIME. DAY
</b>
In a wide shot, from across the street, we see Elena leave
the store, followed by the shopkeeper who runs behind her and
taps her on the shoulder. They converse for a minute, and
Elena is accompanied back into the store.

Through the store windows we see her take the lipstick out of
her purse. She's obviously distraught -- offering to pay,
talking quickly, etc. The shopkeeper is holding a telephone,
not yet decided on whether to call her in.

<b>			PAUL (V.O.)
</b>	To find yourself in the Negative
	Zone, as the Fantastic Four often
	do, means that all everyday
	assumptions are inverted -- even
	the invisible girl herself becomes
	visible, and so she loses the last
	semblance of her power.

<b>INT. TRAIN. DAY
</b>
Close on images from The Fantastic Four.
<b>	"HERE IN THE NEGATIVE ZONE, HIS
</b><b>	POWERS ARE HALVED. WE CAN DO
</b><b>	NOTHING BUT WAIT... AND PRAY" "BUT
</b><b>	WHAT ABOUT FRANKLIN? HE'LL BE
</b><b>	KILLED!"
</b>
Paul sits reading on his way home.

<b>EXT. WILLIAMS HOUSE. DAY
</b>
Janey pulls up in the driveway. As she gets out of the car,
she hears a small explosion from the back of the house.

<b>EXT. HOOD BACKYARD. DAY
</b>
Janey comes around the back to discover Sandy stuffing a
model airplane with m-80 firecrackers. He lights them and
runs back a safe distance. The plane explodes, its wreckage
joining the debris from a few other dolls, models, and toys.

<b>			JANEY 
</b>	Sandy!

Sandy looks up -- busted.

Janey marches over to him.

<b>			JANEY (CONT'D)
</b>	You little idiotic prick, you could
	blow yourself fucking sky high with
	all this demented crap.

Sandy looks on the verge of tears. She softens and bends down
to him.

<b>			JANEY (CONT'D)
</b>		(sighing)
	Hey.
		(picking up the
		 firecrackers)
	I'll take this stuff.

<b>			SANDY
</b>	You going to tell dad?

<b>			JANEY
</b>	Would it matter?
		(sees something else lying
		 on the ground)
	And what's that?

<b>			SANDY
</b>		(sniffling)
	You know, it's the whip -- the one
	uncle Frank got me from Mexico.

<b>			JANEY
</b>	It's not packed with explosives, is
	it?

<b>			SANDY 
</b>	No!

<b>			JANEY
</b>		(going into the house)
	Play with the whip.

<b>INT. WILLIAMS LIVING ROOM. DAY
</b>
Mikey and Wendy are in front of the TV, watching a rerun of
Divorce Court.

<b>			JANEY
</b>	Oh. Hi Wendy.

<b>			WENDY
</b>	Hi Mrs. Williams.

<b>			JANEY
</b>	Mikey, have you heard the
	explosions coming from the
	backyard?
		(he stares blankly at her)
	Do you know what Sandy's been up
	to?

<b>			MIKEY
</b>		(honestly oblivious, as
		 usual)
	I dunno.

She pauses, then walks into the kitchen.

<b>EXT. WILLIAMS BACKYARD. DAY
</b>
Sandy flicks his enormous whip in the direction of a small
bush.

One by one, he snaps off its leaves.

<b>INT. WILLIAM KITCHEN. DAY
</b>
Janey hauls a turkey out of a bag and into the fridge.

<b>INT. WILLIAMS LIVING ROOM. DAY
</b>
Mikey and Wendy are still in front of the TV.

Janey comes in again and looks at them.

<b>			JANEY
</b>	Don't you kids have homework?

<b>			MIKEY AND WENDY 
</b>		(without looking up, in
		 unison)
	Thanksgiving break.

She walks out of the room again.

Sandy comes in, whip in hand, looks over at Mikey and Wendy,
then walks over to them, and, without a word, slumps down
beside them and watches the TV.

<b>EXT. TOWN STREET. DAY
</b>
Elena walks unsteadily, pausing to rest against a brick wall.
She takes a deep breath, then walks to a corner where a local
taxi station wagon sits idling. She gestures to the driver,
who beckons her in.

<b>INT. WILLIAMS LIVING ROOM. DAY
</b>
Later, still mentally devolving in front of the TV, but with
various junk food detritus surrounding them and a different
show, a rerun of the original Highway Patrol.

Sandy wanders off.

<b>						CUT TO:
</b>
Later.

Wendy gets up, goes upstairs, and wanders down the hall to
the bathroom.

She gets to the door just as Sandy gets there from the
opposite direction.

<b>			WENDY 
</b>	After you.

Sandy hesitantly opens the door, as Wendy still hovers by it.

<b>			SANDY 
</b>	Well, you can...

<b>			WENDY 
</b>	Hey Sandy, what were you blowing up
	out there? Your mom was pretty
	p.o.'d.

<b>			SANDY 
</b>	All my model planes.

<b>			WENDY 
</b>	The ones you built?

<b>			SANDY
</b>	They were old. And they couldn't
	fly anyhow. I'm going to get a
	radio-controlled airplane at
	Christmas, and then I'll stuff it
	full of m-80s and then fly it into
	Mrs. Burgess's English class and
	blow it up.

<b>			WENDY 
</b>	I have to go to the bathroom.

<b>			SANDY 
</b>	Yeah.

But he stays put, unaware it seems that he's blocking the
doorway.

Wendy looks around -- no one in sight.

<b>			WENDY 
</b>	I'll show you mine if you show me
	yours.

Sandy goes wide eyed, and almost against his will backs into
the bathroom like a feather.

<b>INT. WILLIAMS LIVING ROOM. DAY
</b>
Mikey looks up from the TV, wondering where Wendy is. He eats
another Pringle.

<b>INT. WILLIAMS BATHROOM. DAY
</b>
Wendy flips up her dress for Sandy.

He slowly unzips, his hand unsteady. We can tell from the
look on Wendy's face that she's feeling a bit sorry for the
little guy.

Suddenly Sandy turns beet red, and bursts into tears.

<b>			SANDY 
</b>	What do you want?! What do you
	want? Get out! Get out of here!

The door flips open -- and Janey Williams appears.

<b>			JANEY
</b>		(sizing up the situation) 
	Shit.

<b>INT. MASTER BEDROOM. DAY
</b>
Janey is giving Wendy a lecture

<b>			JANEY 
</b>	A person's body is his temple,
	Wendy. This body is your first and
	last possession. Now as your own
	parents have probably told you, in
	adolescence our bodies tend to
	betray us. That's why, in Samoa and
	in other developing nations,
	adolescents are sent out into the
	woods, unarmed, and they don't come
	back until they've learned a thing
	or two.

<b>INT. WILLIAMS HOUSE DOORWAY. DAY
</b>
Wendy is led to the door by Mrs. Williams.

Wendy trades a glance with a sullen Mikey, who sits in the
living room pretending to ignore her.

<b>EXT. STREET. DAY
</b>
Wendy walks her bike with the wind in her face.

From behind her, Mikey rides up on his bike and rides
alongside her.

She doesn't look at him.

Trying to stay on his bike, but moving slowly, he wobbles,
nearly falling off.

<b>			MIKEY 
</b>	I don't ever want to see you.

<b>			WENDY 
</b>	Then why'd you come after me?

<b>EXT. HOOD HOUSE. DAY
</b>
The taxi pulls up. Elena gets out and pays the driver.

<b>INT. HOOD KITCHEN. DAY
</b>
Ben is in front of the open freezer, trying to get something
out. He hears Elena come in the front door.

<b>			BEN 
</b>	Elena. I need some help here if
	this thing's gonna defrost by
	tomorrow.

She comes up and together they tug and pull until they
succeced in extracting a large, frozen turkey. As they pull
it out, it slips from their hands and, after a dull thump,
slides along the floor.

They smile.

Elena bends over to pick it up. Ben observes her. She notices
his look.

<b>			BEN (CONT'D)
</b>	Here.

He goes over and picks up the turkey, placing it in the sink.
He looks back at her and notices her vaguely distraught look.

<b>			BEN (CONT'D)
</b>	You all right there?

<b>			ELENA 
</b>	Oh. Sure, I -- Did you remember to
	pick up the cranberry sauce?

<b>			BEN
</b>	Um, yes.

They stand together, his concern and her vulnerability
forming an awkward attraction between them.

<b>			ELENA 
</b>	Because you like it on your turkey
	sandwiches.

<b>			BEN 
</b>	I do. I'm -- are you...?

<b>			ELENA 
</b>	I... I think I am...

<b>			BEN 
</b>		(pause)
	You know Elena, I've been thinking--

<b>			ELENA
</b>	Ben, maybe no talking right now? If
	you start talking, you're going to--

She kisses him as if she needed him.

<b>INT. HOOD HALLWAY. DAY
</b>
Ben and Elena enter their bedroom. Elena closes the door
quietly behind her.

<b>INT. HOOD BEDROOM. DAY
</b>
Ben and Elena undress shyly.

They make love. Elena's face is almost fearful.

<b>						CUT TO:
</b>
Elena and Ben lie in bed side by side in the pale afternoon
light. Neither speaks. Ben turns on his side, and notices a
small tear forming in Elena's eyes.

<b>			BEN 
</b>	You crying?

<b>			ELENA 
</b>	I'm just sad Ben -- I mean it
	was... you were, but, you know. I
	just don't know...

<b>			BEN
</b>		(gently making light)
	Whatever that means Elena -- And
	you complain about me not
	communicating... I thought it was --

<b>			ELENA 
</b>	No, I didn't mean to sound
	negative. It was -- But Ben. 
		(beat)
	What is going to happen with us?
	Have you --

<b>			BEN 
</b>	You have to bring this up now?
	What? Did I do something here? Is
	that it? Is it something I did?

<b>			ELENA 
</b>	I wasn't accusing you, Ben. It's
	just that we've got to be honest.
	Not just with ourselves, but with
	the children.

<b>			BEN
</b>		(pause, sitting up)
	Hell, I know. I -- I guess if you
	want to accuse me, you've got --
		(looks at watch)
	Oh hell! I've got to pick up Paul.
	I almost forgot.

He gets up and starts to get dressed.

<b>			ELENA
</b>	You were saying?

He smells the armpits of the shirt he's putting on.

<b>			BEN
</b>	Yikes -- I was hoping to wear this
	thing to the Halford's Friday.

<b>			ELENA
</b>	That shirt?

<b>			BEN
</b>	What?

<b>			ELENA
</b>	Leave it -- I'll wash it for you.

He looks at her ruefully.

<b>EXT. HOOD STREET. DAY
</b>
Wendy walks and Mikey rides along.

<b>			WENDY
</b>	You have to follow me?

<b>			MIKEY
</b>	I dunno. I --

They're now in front of the Hood's house.

<b>EXT. HOOD HOUSE. DAY
</b>
Ben exits the house in a rush, and sees Wendy and Mikey on
the street in front.

<b>			BEN
</b>	Hey there Mikey, how's business?

<b>CONTINUED: 85
</b>
<b>			MIKEY
</b>		(tripping off of his bike)
	Business? Uh, I dunno.

Ben grimaces, fiddles for his car keys.

As Mikey remounts and rides off, Wendy passes her father on
the driveway.

<b>			BEN
</b>	I'm picking up Paul at the station 
	- want to come?

<b>			WENDY
</b>	Nah.

<b>			BEN
</b>	What you been up to?

<b>			WENDY
</b>	Nothing.

<b>INT. HOOD LIVING ROOM. DAY
</b>
Wendy enters the house and climbs the stairs.

She sees the crumpled bed sheets in her parents' room and
hears Elena in the shower.

<b>EXT. NEW CANAAN STATION. DAY
</b>
Paul walks to the parking lot with his father, who carries
his duffel bag.

<b>EXT. STREETS. DAY
</b>
Ben's car heading back to the house with Paul.

<b>INT. HOOD CAR. DAY
</b>
<b>			BEN
</b>	So how's school treating you?

<b>			PAUL
</b>	All right.

<b>			BEN 
</b>	Classes?

<b>			PAUL
</b>	Good.

<b>			BEN 
</b>	Grades?

<b>			PAUL
</b>	Fine.

<b>			BEN 
</b>	Anyone special? You know...

<b>			PAUL
</b>	Hnnn.

<b>			BEN 
</b>	Well it's good to see you -- we
	miss you around the house and all,
	but this St. Peter's, it's top of
	the line, eh?

<b>			PAUL
</b>	Yeah.

<b>			BEN 
</b>	You know Paul, I've been thinking,
	maybe this is as good a time as any
	to have a little talk, you know,
	about -- well --

He makes a sharp turn. Paul puts his arms up on the dashboard
to steady himself.

<b>			PAUL
</b>		(nervous)
	About?

<b>			BEN 
</b>	Well, the whole gamut. Facts of
	life and all. Some fatherly advice,
	because, I tell you, there's things
	happening that you're probably old
	enough... well...
		(pause)
	For example, on the self-abuse
	front -- now this is important -
	it's not advisable to do it in the
	shower -- it wastes water and
	electricity and because we all
	expect you to be doing it there in
	any case -- and, um, not onto the
	linen, and not on your sister's
	underwear or any clothing belonging
	to your mother --

He pauses to gauge the effect of his monologue on his son,
then continues.

<b>			PAUL 
</b>	Uh, Dad --

Just then Ben runs a stop sign and almost slams into another
car.

<b>			BEN 
</b>	Holy! Well. If you're worried about
	anything, just feel free to ask,
	and, uh, we can look it up.

<b>			PAUL 
</b>	Uh, dad, you know I'm 16.

<b>			BEN 
</b>	All the more reason for this little
	heart to heart... great.

<b>EXT. HOOD HOUSE. DAY
</b>
The car pulls up. Paul gets out, looking shell-shocked. He
sees Wendy waving to him from a second floor window. He nods
back.

<b>			BEN 
</b>	Um, Paul. On second thought, can
	you do me a favor and pretend I
	never said any of that.

<b>			PAUL 
</b>	Sure dad.

<b>			BEN 
</b>	Thanks.

In the doorway, Elena waits.

<b>INT. HOOD HALLWAY. DAY
</b>
Paul knocks on Wendy's bedroom door. She opens it.

<b>			PAUL 
</b>	Hello, Charles.

<b>			WENDY 
</b>	Greetings, Charles.

<b>INT. WENDY'S ROOM. DAY
</b>
Paul and Wendy sit on the floor.

<b>			PAUL 
</b>	How are the parental units
	functioning these days?

<b>			WENDY 
</b>	Dad's like doing his Up With People
	routine, mom hasn't been saying
	much.

<b>			PAUL 
</b>	I don't know. Dad seems a little
	weird.

<b>			WENDY 
</b>	Yeah well wait till mom opens her
	mouth.

They both ponder silently. Then:

<b>			PAUL 
</b>	May I operate your telephonic
	apparatus?

<b>			WENDY 
</b>	Why don't you use the phone
	downstairs?

<b>			PAUL 
</b>	Calling an individual, Charles, in
	New York. Confirming a social
	outing for Friday night.

<b>			WENDY 
</b>	Can I come?

<b>			PAUL
</b>	It's a one-on-one kind of date
	thing.

<b>			WENDY
</b>	With who?

<b>			PAUL
</b>	Her name's Libbets.

<b>			WENDY
</b>	Libbets? What kind of a name is
	Libbets?

<b>EXT. HOOD HOUSE. DAY
</b>
Morning. To establish.

<b>INT. HOOD BEDROOM. DAY
</b>
Elena is coming out of the master bathroom in a robe, a towel
wrapped around her head.

<b>			ELENA
</b>	The turkey in?

<b>			BEN
</b>	Stuffed and baking.

<b>INT. HOOD HALLWAY. DAY
</b>
Ben Hood pads down the hall in his bathrobe, tries the
bathroom door. It's locked.

<b>			BEN
</b>	Anyone home?

<b>INT. HOOD BATHROOM. DAY
</b>
The shower is running, but Paul is standing by the open
window, puffing on a joint and trying to blow the smoke
outside.

<b>			PAUL
</b>	I'll be out in a second.

Ben walks back to the bedroom, smirking.

<b>			BEN 
</b>	Sure you will.

<b>INT. HOOD DINING ROOM. DAY
</b>
One by one, each member of the Hood carried in a final item
to place on the overstuffed Thanksgiving table. Then, one by
one, they each silently take their seats.

They look over the table. No one moves.

<b>			BEN 
</b>	Well, it's great we can all be
	together. And this Thanksgiving, no
	hysteria, no yelling, especially
	with grandpa not here, although we
	miss him. So let's do it right and
	actually, Wendy, why don't you say
	grace. You used to love to say
	grace, remember.

Wendy grimaces, as they all bow their heads slightly.

<b>			WENDY 
</b>	Dear Lord, thank you for
	Thanksgiving, and for letting us
	white people kill all the
	Indians...

Everyone looks up.

<b>			WENDY (CONT'D)
</b>	... and steal their tribal lands
	and stuff ourselves like pigs

Mutterings and groans: "Wendy!" "For Christ's sake" etc.

<b>			WENDY (CONT'D)
</b>	... while children in Africa and
	Asia are napalmed and --

<b>			BEN 
</b>	Jesus all right enough!

They all unceremoniously start to dig in.

<b>						FADE OUT:
</b>
<b>INT. WILLIAMS GUEST ROOM. DAY
</b>
Janey Williams is pouring Benjamin Hood a drink from a bottle
of vodka. Benjamin is already unbuttoned and shoeless; Janey
still fully dressed.

<b>			JANEY 
</b>	Here.

<b>			BEN 
</b>	After the Thanksgiving I had, I
	need it. You having one?

<b>			JANEY 
</b>	In a bit.

She sits next to him, he kisses the back of her neck.

<b>			BEN 
</b>	You know, I think Elena might
	suspect something.

Janey gives him a rather contemptuous look.

<b>			BEN (CONT'D)
</b>		(thinking aloud)
	Maybe it's all for the better, you
	know?
	Yesterday, at dinner, well, she
	hasn't said anything... has she
	acted funny to you, I mean, have
	you noticed anything?

<b>			JANEY
</b>		(almost ironic)
	Have I noticed anything? I'm not
	married to her Benjamin, you are. I
	think you've probably a better
	vantage point from which to observe
	her.

<b>			BEN 
</b>	Yeah, but, I -- I've been working a
	lot lately, and -- No, that's not
	it. I guess we've just been on the
	verge of saying something, whatever
	it is, just saying something to
	each other. On the verge.

Janey gets up.

<b>			JANEY 
</b>	I'll be back.

Benjamin looks at her quizzically.

<b>			BEN
</b>	Huh?

<b>			JANEY
</b>	Birth control.

<b>			BEN
</b>	Right. Gotcha.

She leaves the room.

He leans back onto the bed. Sits back up. Takes a sip of
vodka. Puts the glass down. Takes his socks off. He's now in
just his jockey shorts and shirt.

Faintly, he hears a door close. The front door?

He takes another sip.

He hears another sound.

<b>			BEN (CONT'D)
</b>	Janey?

Nothing.

He goes to the door and carefully opens it.

<b>			BEN (CONT'D)
</b>		(quietly)
	Janey?

He hears, quite audibly, a car door open, close, Janey's car
start and pull out.

He runs to a front window just in time to catch a glimpse of
her driving off.

<b>			BEN (CONT'D)
</b>	Shit.

<b>INT. GUEST ROOM. LATER
</b>
Benjamin sits on the guest bed, still in his underwear,
drinking from the bottle.

He gets up and starts to wander around the house, still
holding the bottle.

<b>INT. MASTER BEDROOM. CONT'D
</b>
Benjamin saunters through. He presses on the king-sized bed --
it undulates.

<b>			BEN
</b>	Water bed! Dig it!

He wiggles comically, making more waves.

<b>						JUMP CUT:
</b>
Ben idly goes through Janey's drawers.

<b>INT. WILLIAMS MASTER BATHROOM. CONT'D
</b>
He rifles through the bathroom cabinet, checking out the
medicines.

<b>INT. WILLIAMS BEDROOM. CONT'D
</b>
He notices a garter belt hanging from the walk-in closet
door. He picks it up and twirls it.

<b>INT. MIKEY'S ROOM. CONT'D
</b>
Benjamin walks in, an obvious look of distaste.

He sorts through a few of Mike's things -- monster eyes that
glow in the dark, The Sensuous Woman, etc.

He twirls the garter belt absentmindedly, then tosses it into
the back of Mike's closet.

<b>INT. GUEST ROOM. CONT'D
</b>
He finishes putting his clothes back on. As he reaches for
the door, he hears voices and quickly steps back in again.

Teenage voices. Mikey and Wendy.

<b>			MIKEY (O.S.)
</b>	See, no one's here. Maybe you want
	to go to the basement?

<b>			WENDY (O.S.)
</b>	Maybe we can just watch some TV.

<b>			MIKEY (O.S.)
</b>	There's a TV in the basement.

Hood hears their steps down into the basement.

<b>INT. BASEMENT. DAY
</b>
Wendy and Mikey stand in the middle of the semi-lit basement.

<b>			MIKEY 
</b>	Maybe we can mess around. You know,
	only if you want to...

<b>			WENDY
</b>	I don't know.

<b>			MIKEY
</b>	Why did you -- with Sandy?

<b>			WENDY
</b>	I don't know.

<b>			MIKEY
</b>	You like him? He worships you.

But Wendy doesn't seem to hear -- she's drawn to an object
lying next to a bean bag chair off to one side.

<b>			WENDY
</b>	Hey, what's this?

With a look of utter fascination, she picks up a Nixon mask,
looking at it as though it were an archeological find.

<b>			WENDY (CONT'D)
</b>	Wow!

<b>			MIKEY
</b>	Wendy!

She puts the mask on.

<b>			WENDY
</b>		(from behind the mask)
	I won't take my pants off. But I'll
	touch it. That's as far as it goes.

Mikey looks totally confused.

Remaining fully clothed, Wendy loosens Mike's belt, showing
no excitement from behind her mask, and lets him climb on top
of her for a dry hump.

Just then, a shaft of light hits them from the top of the
stairs -- Ben towers above them, looking down.

Mikey flips over immediately and pulls his clothes together,
grabbing a TV Guide as Wendy stands up, the mask still on.

As Ben descends Mikey, still stuffing his shirt-tail into his
pants, pretends to flip through the TV Guide.

<b>			MIKEY
</b>		(muttering)
	When worlds collide.

<b>			WENDY 
</b>	Huh?

<b>			MIKEY 
</b>	4:30 movie. When Worlds Collide.

Ben arrives, folds his arms.

<b>			BEN 
</b>	What the hell are you kids doing
	down here?

<b>			WENDY 
</b>	What do you think we're doing, dad?

<b>			BEN 
</b>	What do I think? I think you're
	probably touching each other. I
	think you're touching that reckless
	jerk-off, for god's sake, and I
	think he's trying to get into your
	slacks. I think, at fourteen years
	of age, that you're getting ready
	to give up your girlhood --

<b>			MIKEY 
</b>	Hey, hang on there, Mr. Hood --

<b>			BEN 
</b>	Don't you direct a single word at
	me, Mikey. I don't want to hear it.
	I'll be speaking with your parents
	about this situation very soon. Bet
	your ass on that, son. Young lady?

<b>			WENDY 
</b>	Talking to me, dad?

<b>			BEN 
</b>	Who else would I be talking to? And
	take that thing off!

<b>			WENDY
</b>		(pulling off the mask)
	Well, then forget all this stern
	dad stuff.

<b>			BEN 
</b>	I'm not interested in your smart
	ass remarks now, lady. Let's go.
	Right now. You and I can discuss it
	on the walk home.

She stands next to Mikey for a moment, both on the verge of
tears.

<b>EXT. STREET. EVENING
</b>
Hood and Wendy walk through a cold drizzling rain.

He looks at her from time to time, then takes her arm.

<b>			BEN 
</b>	Look, kiddo, don't worry about it.
	I really don't care that much. I'm
	just not sure he's good enough,
	that's all.

<b>			WENDY 
</b>	Huh?

<b>			BEN 
</b>	I mean, he's not serious, he'll end
	up living off Janey and Jim, you
	watch.
	It's just that you develop a sense
	when you get older, if things are
	going to work out or if they won't,
	and sometimes it's not worth the
	mess...

She looks at him. They keep walking. She walks through a
puddle.

<b>			BEN (CONT'D)
</b>	Your toes cold?

<b>			WENDY
</b>	Yeah.

He stops and lifts her in his arms.

<b>			BEN
</b>	I'll carry you up the drive.

She puts her arms around his neck and he lifts her up.

On her face, as he carries her -- a look of blank but real
intimacy.

<b>INT. HOOD FRONT HALL. EVENING
</b>
Hood and Wendy enter, wet and cold, muttering hellos.

<b>			ELENA (O.S.)
</b>		(from the kitchen)
	Dinner in ten minutes.

<b>			BEN
</b>	You go dry off now.

Wendy heads for the stairs, Hood following.

<b>INT. HOOD BEDROOM. EVENING
</b>
Hood finishes taking off his wet clothes as Elena enters and
turns on a light. She stands watching him.

<b>			BEN
</b>	Never guess where I found her.

Not much response From Elena.

<b>			BEN (CONT'D)
</b>	In the basement over at Janey and
	Jim's. With that weirdo Mikey. Not
	even a TV on.
	And they're on the floor and he's
	got his trousers down though thank
	goodness she's still dressed. Well,
	I really let him have it! 
		(a nervous laugh)
	... and Wendy came home
	peacefully... Hey, should I dress
	for the Halford's now, or - give me
	your -

<b>			ELENA 
</b>	Up to you. I'd like to go early and
	leave pretty soon after that.

<b>			BEN 
</b>	I get you loud and clear... hey,
	you look nice.

<b>			ELENA 
</b>	So what were you doing in the
	Williams' basement anyway?

<b>			BEN 
</b>	Oh, just dropping off a coffee cup.
	Jim left it, last time he was over.
	It was on the dash of the car. You
	were, you know, reading, thought
	I'd just catch some air. Let's eat.

<b>			ELENA 
</b>	Oh right. The mustache coffee cup.
	The one that was sitting on the
	dash.

<b>			BEN 
</b>	Yeah, that one.

<b>			ELENA 
</b>	That one.

She walks down to the kitchen, Benjamin following her.

<b>INT. KITCHEN. EVENING
</b>
Wendy is already in the kitchen, fishing through the drawers
for silverware and napkins.

Paul enters.

<b>			PAUL
</b>	See you. 

<b>			BEN
</b>	Stay out of trouble.

<b>			ELENA
</b>	You'll be on the 10:30 train?

<b>			PAUL
</b><b>	11:30?
</b>
<b>			ELENA
</b>	Paul --

<b>			BEN
</b>	Ah let the guy have his fun. What's
	the name of this girl with the Park
	Avenue address?

<b>			PAUL
</b>	Libbets. Libbets Casey.

<b>			BEN
</b>	Libbets? What kind of name is
	Libbets?

<b>INT. KITCHEN. NIGHT
</b>
A silent dinner of turkey sandwiches with Elena, Benjamin,
and Wendy. The turkey carcass sits, embarrassed, in the
middle of the table.

Wendy, finished, gets up from the table. Opens the fridge,
but finds nothing. Then goes to the candy shelf and grabs
some Hot Tamales, leaving the room without a word and going
into the den.

<b>INT. DEN. NIGHT
</b>
Wendy turns the TV on.

<b>			TV
</b>	... and that ends today's highlight
	coverage of the Watergate affair.

<b>			WENDY
</b>	Shoot.

<b>INT. KITCHEN. NIGHT
</b>
Hood and Elena rise from the table with their dishes.

<b>			BEN
</b>	What's for dessert?

<b>			ELENA
</b>	See for yourself.

<b>			BEN
</b>	No advice from the experts, huh?

His plate slips out of his hands into the trash. He fishes it
out and sets it on the counter.

<b>			ELENA
</b>	Don't start.

<b>			BEN
</b>	You think I --

<b>			ELENA
</b>	I have no idea.

<b>			BEN
</b>	What's on your mind? Don't --

<b>			ELENA
</b>	It wouldn't make a pleasant
	evening, if that's what you're
	after. I don't want to talk about
	it. Stupid mustache cup.

<b>			BEN
</b>	What do you mean?

<b>			ELENA
</b>	Don't be dim.

<b>			BEN
</b>	Elena, what are you're talking
	about?

<b>			ELENA
</b>	I'm not surprised.

<b>			BEN
</b>	Listen, Elena, if you're gonna pull
	that passive aggressive stuff on me
	again --

<b>			ELENA
</b>	Your unfaithfulness -- that's what
	I'm trying to talk about. Your
	unfaithfulness. Your betrayal. Your
	dalliance. And you won't do me the
	dignity of being up front about it.

<b>			BEN
</b>		(quieter)
	Am I unfaithful? Is that what
	you're trying to say?

<b>			ELENA
</b>	It's a starting place.

<b>			BEN
</b>	Well, what kind of faithfulness are
	you after?

<b>			ELENA 
</b>	If you're going to insult me --

<b>			BEN
</b>	What else could I be? What else
	could I be? We're not living in the
	real world here. You're living out
	some fantasy land from the past, or
	some advice or something from those
	psychoanalysts... there are some
	hard facts here.

Silence.

<b>			BEN (CONT'D)
</b>	It's the law of the land... the
	government, the world, those two
	guys on the Yankees... And I'm not
	having any fun at it, I can tell
	you that. I'm not...

<b>INT. DEN. NIGHT
</b>
Wendy puts the volume of the TV up, to drown out a
conversation she can almost overhear but doesn't want to.

<b>INT. KITCHEN. NIGHT. CONT'D
</b>
<b>			ELENA 
</b>	Oh lord. You think I'm so dense.
	And now you want to be seen with
	your dense wife at the cocktail
	party. You want to wear that
	ridiculous shirt which doesn't go
	with those pants at all. You want
	to wear that, and you want me to
	shake hands with your friends and
	make conversation and dress up in
	an outfit that shows a lot of
	cleavage and you're not going to
	accord me the respect of talking
	honestly about this... You don't
	really know what this feels like.

<b>			BEN
</b>		(whispering)
	Sure I do. Do I know what
	loneliness feels like? Sure I do. I
	know a lot about it, if that's what
	you mean.

<b>			ELENA 
</b>	Benjamin. That's supposed to
	explain it?

Seemingly tired, he stands before her. Silence. Elena sighs,
then walks into the den.

<b>INT. DEN. NIGHT
</b>
<b>			ELENA 
</b>	We're going to the Halford's. The
	number's on the calendar in the
	kitchen. We should be home around
<b>	11.
</b>
<b>			WENDY
</b>		(eyes still glued to the
<b>		 TV)
</b>	Is it a big party? A big
	neighborhood party?

<b>			ELENA 
</b>	I suppose. Why?

<b>			WENDY 
</b>	Just curious. If there's a problem,
	I guess I'll just call you there to
	interrupt.

<b>			ELENA 
</b>	What sort of problems are you
	planning exactly?

Elena kisses the top of her head.

<b>			WENDY
</b>		(still watching the TV)
	Oh I thought I'd steal the station
	wagon, drive up to a commune. Or
	set the house on fire. You know.

<b>			ELENA 
</b>	Just bundle up. It's supposed to
	freeze tonight. We'll see you in
	the morning.

<b>EXT. HOOD HOUSE. NIGHT
</b>
Elena and Ben emerge from the house, and look up at a
darkening, foreboding sky. A light rain falls. They jog
toward their car.

<b>INT/EXT. HOOD CAR. NIGHT
</b>
The car moves slowly through the rainy suburban streets.

Inside, Elena and Ben don't speak.

<b>EXT. HALFORD HOUSE. NIGHT
</b>
Their Firebird pulls up. There are already many other cars
parked on the lawn and driveway.

<b>INT. HALFORD FOYER. NIGHT
</b>
Hood and Elena enter. Dot Halford accosts them.

<b>			DOT 
</b>	Ben, Elena. Wonderful! Wonderful!
	So wonderful to see you.

Finishing the last of a celery canoe, she kisses the air next
to Ben's ear and gives Elena a manic hug.

Then, picking up a white salad bowl from the hall table:

<b>			DOT (CONT'D)
</b>	Would you care to play? New this
	year.

Close on: the bowl full of keys.

<b>			DOT (CONT'D)
</b>	Strictly volunteer, of course. You
	can put your coats in the library
	if you like.

<b>			ELENA
</b>	Oh, damn. Uh, I've left the --

<b>			BEN 
</b>	You've...

<b>			ELENA 
</b>	In the car.

<b>			BEN 
</b>	Oh, yeah. Yeah, we'll be right
	back, Dot.

<b>INT./EXT. CAR. CONT'D
</b>
Ben and Elena climb back in the car and close the doors,
shivering.

<b>			ELENA 
</b>	This just isn't the best moment for
	this.

<b>			BEN 
</b>	I know, I know. I had no idea --

<b>			ELENA 
</b>	That this was going to be a key
	party?

<b>			BEN 
</b>	Yeah, well, if we'd understood we
	could have invented some kind of
	excuse. A key party -- did you see
	how stuffed that bowl was already?

<b>			ELENA 
</b>	Well?

<b>			BEN 
</b>	I think we're here and we don't
	have to stay -- we ought simply to
	put in an appearance and then we
	can head home.

<b>			ELENA 
</b>	Damn it, Ben --

<b>			BEN 
</b>	I'm not staying at this party so we
	can go home with someone else's
	wife. That's not why we're here,
	right? We're simply being neighbors
	here, and I think we should do just
	that --

<b>			ELENA 
</b>	You're not going to --

<b>			BEN 
</b>	I'm not.

<b>			ELENA 
</b>	You have some marker, that's what I
	think, if you want to know the
	truth.
	You have some marker and you're
	going to put it on the house keys
	so that Janey can find them and
	then when I get back to the house
	I'll find the two of you in there
	and Wendy'll be able to hear you
	and Paul will be back and he'll
	hear you and I'll catch you, that's
	what I think. She'll be swearing
	and banging against the wall and
	I'll catch --

<b>			BEN 
</b>	Elena.

She rubs her eyes.

<b>			BEN (CONT'D)
</b>	Elena, it's not what you think.
	It's not a big plot. Honestly.
	Honestly. I don't know if you want
	to go over this now, but it's just
	something that comes over me. I
	don't feel good about it. I know
	I've done what I didn't want to do.
	I don't know --

<b>			ELENA 
</b>	Well, I'm really pleased to hear a
	confession.

<b>			BEN 
</b>	Elena, you're just getting wound up
	to get wound up.

<b>			ELENA 
</b>	Thanks for the diagnosis, Ben.
	Thank you. So let's just go to this
	fiasco if that's what you want to
	do. Let's just go on in. I'd rather
	talk to anyone else but you.

She pulls the keys out of the ignition, gets out of the car,
and slams the door. He follows her.

<b>INT. HALFORD FOYER. NIGHT
</b>
<b>			ELENA 
</b>	Oh, Dot!

Elena, entering the house again, tosses the keys at Dot
Halford, who looks surprised.

Hood slides in behind his wife.

Dot drops the keys into the bowl.

Slow-motion, close up: the keys, on their equine chain, fall
in with a THUNDEROUS CRASH.

<b>INT. HALFORD LIVING ROOM. CONT'D
</b>
The room is crowded with nervous, expectant couples and
various groupings.

Elena slips into a side room.

Benjamin heads over immediately to the drink table and pours
a stiff one, turning around to find at his elbow none other
than George Clair.

<b>			GEORGE 
</b>	Benjie!

<b>			BEN 
</b>	Clair, George Clair! What the hell
	brings you to New Canaan?

<b>			GEORGE 
</b>	Well, it's the funniest thing. I've
	been talking to some investors -- a
	little outside venture, you
	understand, between you and me --
	about a scheme to manufacture a new
	Styrofoam packaging. Little peanut
	like pieces that can really keep an
	item free from trauma during
	shipping. Miraculous. Anyway, it
	turns out the genius behind the
	whole project is your neighbor, Jim
	Williams. How about that!

<b>			BEN 
</b>	Well, hey, isn't that a one-in-a
	million coincidence. A real
	dreamer, Jim Williams, eh?

<b>			GEORGE
</b>	Darned right. Look here, Benj,
	whaddya make of this sequel to The
	Godfather? You think it's gonna
	work?

<b>			BEN
</b>	Don't see how. I think the public's
	had its fill of this gangster
	stuff. No, trust me -- disaster
	pics. And air hockey.

<b>			GEORGE
</b>	Yeah, good.

Benjamin catches a glimpse of Janey, voluptuously attired,
across the room.

<b>			GEORGE (CONT'D)
</b>	Well, gonna make a break for the
	hors d'oeuvres guy.

<b>			BEN
</b>	Yeah, see you bright and early
	Monday am.
		(beat)
	Say, where's the wife?

<b>			GEORGE
</b>		(winking as he goes)
	In Rhode Island with the folks. I'm
	a free agent tonight.

At this, they both notice Elena slowly gliding across the
other side of the room. Clair gives Ben a sideways glance,
then moves on.

Ben makes straight for Janey, who pretends to be preoccupied
with a plant.

<b>			JANEY 
</b>	Oh jeez, Benjie. Well, here you
	are.

<b>			BEN 
</b>	Damn right, but where the hell were
	you?

<b>			JANEY 
</b>		(looking around)
	What are you talking about?

<b>			BEN
</b>		(whispering, but too
		 loudly)
	Don't bullshit me around, Janey.
	Jesus Christ, I waited around for
	more than half an hour, in nothing
	but my boxer shorts, and -- and
	what's all that about? What the
	hell happened?

Janey takes a sip of her drink.

<b>			JANEY 
</b>	A prior engagement overcame me.

<b>			BEN 
</b>	What?

<b>			JANEY 
</b>	Listen, Benjamin Hood. I have
	obligations that precede your...
	from before you showed up. One or
	two, you know, good-natured
	encounters, that doesn't mean
	I'm... I'm not just some toy for
	you. When I remembered some chores
	I wanted to get done before the
	party, I just did them, that's all,
	because I wanted to do them before
	I saw Jimmy.

<b>			BEN 
</b>	Jimmy? Jimmy? I don't know how to
	take this. And what do you mean,
	Jimmy? I thought you said you and
	your husband --

<b>			JANEY 
</b>	How you take it isn't all that
	interesting to me, Benjamin. I'm
	sorry --

<b>			BEN 
</b>	I just can't believe you could be
	so --

Stalling, he watches her take another sip of her drink and
wander off.

The air is filled with talk of Watergate, Billie Jean King,
the Oil Crisis, the Mets.

Benjamin goes over to the couch, where Dave Gorman is
chatting up an attractive younger woman.

<b>			GORMAN
</b>		(lighting up a joint)
	Welcome to the Monkey House has
	been a seminal influence on me --
	hey Benjamin -- give it a try? This
	stuff will make some sense out of
	those larger questions.

<b>			BEN 
</b>		(waving it away)
	Thanks for the advice Dave.

But then, Benjamin changes his mind.

<b>			BEN (CONT'D)
</b>	Uh, well, what the hey...

Taking the joint, he tugs on it, holding the smoke in his
lungs.

<b>			BEN (CONT'D)
</b>		(coughing)
	Good shit.

<b>			GORMAN 
</b>	Sure is good shit. It's opiated. I
	had it in my chamber for a while. I
	was smoking this other --

<b>			BEN 
</b>	It's what?

<b>			GORMAN
</b>	Don't fret, Benjie, it's --

<b>			BEN 
</b>	Darn it, Dave.

He rises unsteadily, weaving through the room's
conversations.

<b>			JACK MOELLERING 
</b>	Take California. They've got their
	own airline in-state that's not
	subject to the fare controls.
	Compare Sacramento to L.A. on the
	controlled airlines and you'll see
	what Friedman is saying -- supply
	and demand, less restriction.

Benjamin walks over to a window. The outdoor lamps illuminate
a new and heavy downpour of frozen sleet.

<b>INT. CONRAIL TRAIN. NIGHT
</b>
Paul is seated, reading the latest number of The Fantastic
Four comic book. The cover displays a lurid, atomically
glowing baby.

The conductor walks through the cabin.

<b>			CONDUCTOR 
</b>	Approaching our final stop, Grand
	Central Station.

Paul looks out the window at the tenements of Harlem, barely
visible through the walls of sleet. Soon the train enters the
tunnel toward the station.

<b>EXT. PARK AVENUE APARTMENT BUILDING. NIGHT
</b>
Paul gets out of a cab and heads inside. He's met by the
doorman.

<b>			PAUL
</b>	Libbets Casey, please.

<b>			DOORMAN
</b>	Your name?

<b>			PAUL
</b>	Paul Hood.

<b>			DOORMAN
</b>		(a smirk)
	Elevator on the right. Eighth floor
	-- she's waiting for you.

<b>INT. HALL IN FRONT OF LIBBETS' APARTMENT DOOR. NIGHT
</b>
Paul rings the bell.

<b>			LIBBETS (O.S.)
</b>		(from the other side of
		 the door)
	Open it Paul!

Paul opens the door, and enters the apartment.

<b>INT. LIBBETS' APARTMENT. NIGHT
</b>
It's half dark, has an air of old wealth.

Libbets skids across the parquet floor to him.

<b>			LIBBETS 
</b>	Excellent. We were waiting!

She turns and runs into the den.

<b>			PAUL
</b>		(under his breath)
	We?

And there, in the den, cleaning an ounce of dope on an open
copy of Nixon's Six Crises, is -- Francis.

<b>			FRANCIS
</b>		(lifting the book up)
	You oughtta read this Hood, Nixon,
	our leader, all ye need know about
	the travails of life. Check out the
	Checkers speech stuff.

<b>			PAUL
</b>		(all hope drained from
		 him) 
	Francis. You gonna leave the seeds
	in there? In the binding like that?

<b>			FRANCIS 
</b>	All will be revealed, baby.

The television is turned on to a weather report about the
coming ice storm.

<b>			FRANCIS (CONT'D)
</b>	Awesome sleet and rain.

<b>			LIBBETS 
</b>	Major.

<b>			FRANCIS 
</b>	Howdy there. You, young knight. Can
	you check on the mead? Can you
	sally forth and secure us some more
	mead?

<b>			PAUL 
</b>	Huh?

<b>			FRANCIS
</b>		(nasal voice,
		 impersonating a TV
		 character)
	Moisture! Moisture!

<b>			LIBBETS
</b>		(pointing)
	Beer. In the pantry.

Paul trudges disconsolately out of the room.

<b>INT. LIBBETS KITCHEN. NIGHT
</b>
Paul, after wandering a maze of halls, enters the kitchen,
where he takes a six-pack out of the fridge and returns to
the living room.

<b>INT. LIBBETS LIVING ROOM. NIGHT
</b>
He enters the room with the beer.

<b>			LIBBETS
</b>	Frankie opens them with his teeth.

<b>			PAUL 
</b>		(handing him a beer)
	Hey, it's a sellable skill.

Francis licks closed a second joint, then takes the beer and
opens it with his rear molars.

<b>			FRANCIS
</b>	Hell on the fillings.

Paul opens the other two beers and hands one to Libbets. They
light up a joint.

<b>			FRANCIS 
</b>	Everything's gonna freeze, the big
	freeze.

<b>			LIBBETS 
</b>	Yeah, Paul, are you gonna get home
	okay?

Paul and Francis exchange a look.

She puts an Allman Brothers tape on the 8-track and turns the
TV down.

<b>INT. HOOD BATHROOM. DAY
</b>
Wendy enters the bathroom.

She fills the sink with water, then turns off the tap. She
takes a razor blade from the counter, and slowly,
determinedly, holds it to her wrist.

She presses it into her skin, drawing a small drop of blood.

<b>			WENDY
</b>	Ouch!

She drops the blade and splashes water on her wrist, grabbing
some toilet paper and holding it against the tiny wound.

<b>			WENDY 
</b>	Stupid.

She hears the phone ring and walks downstairs.

<b>INT. HOOD DEN. NIGHT
</b>
Wendy picks up the phone.

<b>			WENDY 
</b>	Hood residence.

<b>INT. WILLIAMS KITCHEN. NIGHT
</b>
Mikey is on the other end of the line.

<b>			MIKEY 
</b>	You're parents at that party?

<b>						INTERCUT:
</b>
<b>			WENDY 
</b>	Yeah. Yours?

<b>			MIKEY 
</b>	You get in trouble?

<b>			WENDY 
</b>	Maybe. Can't really tell yet.

<b>			MIKEY 
</b>	I'm sorry if I got you into
	trouble. Maybe we don't have to,
	you know... unless you really want
	to.

<b>			WENDY 
</b>	Yeah.

<b>			MIKE 
</b>	I'm going to Silver Meadow, check
	out the ice storm... You wanna
	come.

<b>			WENDY 
</b>	Maybe.

<b>			MIKE 
</b>	Yeah. OK.

<b>INT. WILLIAMS HOUSE. NIGHT
</b>
Mikey, bundled up in a huge orange ski parka and cap, heads
for the door.

<b>			SANDY 
</b>	Where you going?

<b>			MIKEY 
</b>	Out.

<b>			SANDY 
</b>	It's freezing.

<b>			MIKEY 
</b>		(pausing)
	Yeah. When it freezes, I guess that
	means the molecules are not moving.
	So when you breathe, there's
	nothing in the air, you know, to
	breathe in to your body. The
	molecules have stopped. So it's
	clean.

Sandy just looks at him. He walks out into the night.

<b>INT. HALFORD'S. NIGHT
</b>
Elena sits on a couch, talking to no one, barely looking up,
when someone stands in front of her.

<b>			ELENA 
</b>	Reverend Edwards.

<b>			PHILIP 
</b>	Perhaps you might find it in your
	heart to call me Philip?

He sits beside her.

<b>			ELENA 
</b>	You're here... I'm a bit surprised.

<b>			PHILIP 
</b>	Sometimes the shepherd needs the
	company of the sheep.

<b>			ELENA 
</b>	I'm going to try hard not to
	understand the implications of that
	simile.

Philip's about to reply, but thinks better of it.

They sit glumly next to each other for a minute. Then Philip
rises.

<b>			PHILIP
</b>	Forgive me.

He walks swiftly to the hall and hurriedly fishes his keys
out of the bowl, then heads for the door.

<b>			TED FRANKLIN
</b>		(passing by)
	I hope those weren't my keys.

He laughs at his own joke as Philip rushes out the front
door.

Back to Elena, even more forlorn than before.

<b>INT. LIBBETS APARTMENT BATHROOM. NIGHT
</b>
Paul enters the bathroom. We hear Francis' and Libbets'
voices from the other room, laughing.

He pees.

At the sink, he pauses in front of the medicine cabinet, then
opens it.

<b>			PAUL 
</b>	Eureka.

He pulls out some bottles.

<b>			PAUL
</b>	Valium. Seconal. Uh,
		(can't quite pronounce
		 this one)
	Par-er-goric?
		(a beat, looking into the
		 mirror for effect)
	Francis Chamberlain Davenport the
	Fourth -- tonight you sleep the
	sleep of the just.

He pockets the Seconal and turns out the light.

<b>INT. LIBBETS APARTMENT DEN. NIGHT
</b>
Paul re-enters the den to find Francis alone.

<b>			PAUL 
</b>	And whence has yon virginal maiden
	absconded?

<b>			FRANCIS 
</b>	Like into one of the other 20 or so
	bathrooms they've got in this
	place.

Paul takes out the bottle and opens it.

<b>			PAUL 
</b>	Check it out. Not for the faint of
	heart.

<b>			FRANCIS 
</b>	Pharmaceutical! You are a god.

<b>			PAUL (CONT'D)
</b>		(picking up beer, trying
		 to hurry before Libbets
		 returns)
	One for you and one for me.

He hands a pill to Francis, then pretends to pop one into his
mouth and takes a swig of his beer. As Francis downs his own,
Paul pockets his unswallowed pill.

<b>			LIBBETS
</b>		(in the doorway)
	No candy for me?

<b>			FRANCIS 
</b>	Groovy.
		(to Paul)
	Young master of the revels, a treat
	for our hostess?

<b>			PAUL 
</b>	Well, uh, I don't, it's really --

<b>			LIBBETS 
</b>	What is it?

<b>			FRANCIS 
</b>	Come on Paulie, share the wealth.
	You copped 'em from her mom's stash
	anyway.

<b>			LIBBETS 
</b>	Let's see!

<b>			PAUL
</b>		(hand in pocket)
	Libbets, you really shouldn't mix
	and match, you know with the beer.
	I'll put 'em back.

Libbets reaches into his pocket and pulls out the bottle.

<b>			LIBBETS 
</b>	Oh far out, Paulie. Hey look, these
	expired like five months ago. You
	think they're better aged?

She opens up the bottle and takes one out.

<b>			PAUL 
</b>	Maybe you should have just a half.

<b>			LIBBETS 
</b>	Thanks for the advice dad.

She takes the pill.

Paul looks on, thwarted.

<b>INT. HALFORD'S. NIGHT
</b>
Ben is back at the bar, pouring another tall one. Mark Boland
sidles up next to him.

<b>			BOLAND 
</b>	Benjie, feeling no pain.

<b>			BEN 
</b>	As the Indian saying goes, pain is
	merely an opinion.

<b>			BOLAND
</b>		(nodding across the room)
	Hey -- check it out. Maria Conrad's
	brought her son.
		(walking off)
	I wish some of the gang had brought
	their daughters!

Ben feels a wave of distaste at the joke.

He looks across the room as Maria and her son Neil (stringy
hair, acne, tie-dyed turtleneck, patched jeans) are engaging
Janey and Philip Edwards in conversation.

<b>INT. LIBBETS' APARTMENT. NIGHT
</b>
Paul, Francis, and Libbets sit on the floor, listening to the
music blasting at full strength.

Libbets and Francis are obviously on the verge of
unconsciousness. Paul regards them with a look of
apprehension on his face.

<b>INT. HALFORD'S. NIGHT
</b>
Neil has now cornered Janey.

<b>			NEIL 
</b>	As Werner says, there is nothing to
	get. That's It. When you get that
	there's nothing to get. That's the
	training, when you ask yourself,
	the question, "What is is?"

<b>			JANEY 
</b>	Wait, this is the training, where
	they don't let you go to the
	bathroom?

<b>			NEIL 
</b>	That was the hardest part. But I
	did it. And you get into some far
	out shit.

<b>INT. LIBBETS' APARTMENT. NIGHT
</b>
Libbets puts a blanket over a sleeping Francis, who's crashed
out on the floor in a corner. Francis alternates between
snores and various mumbled delirious ravings.

<b>			FRANCIS 
</b>	The foot... the foot... toeclipper
	man...

Paul is sitting on the couch, and Libbets comes back and sits
at his feet, facing up to him.

<b>			PAUL 
</b>	I guess he's just real exhausted
	from, you know, tests and stuff.

Libbets is herself somewhat in dreamland.

<b>			LIBBETS 
</b>	Yeah.

<b>			PAUL 
</b>	You know Libbets, I really feel,
	you know, like a real connection to
	you --

<b>			LIBBETS 
</b>	Yeah but you don't even know me
	really.

<b>			PAUL 
</b>	Sure I do, you know, like your
	aura. That you give off.

<b>			LIBBETS 
</b>	My what?

<b>			PAUL 
</b>	It's like very positive, and I feel
	a real special feeling, because you
	really --

<b>			LIBBETS 
</b>	And I have a special feeling too,
	because I do. It's special.

<b>			PAUL 
</b>	You do? I'm glad. Because I feel
	for you --

<b>			LIBBETS 
</b>	And I have a feeling for you too,
	because you're just like -- I feel
	for you like you're -- you're just
	like --

<b>			PAUL AND LIBBETS
</b>		(simultaneously)
	-- like a brother.

<b>			PAUL 
</b>	Yeah, you're not alone with that
	line.

<b>			LIBBETS 
</b>	I do.

<b>			PAUL 
</b>	Right. Cool. So, how about we take
	a bath together?

<b>			LIBBETS
</b>		(consciousness fading
		 fast)
	Hah hah you're funny. A bath. Like
	a brother and sister. Oh man, I'm
	so wasted.

Her head bobs and weaves, her eyes close, and suddenly her
head falls forward with a whoosh toward the couch -- smack
dab between Paul's legs.

She begins to snore instantly, her open mouth nuzzling into
his crotch.

Paul doesn't move, doesn't even breathe. Then, slowly, he
leans his back into the couch, without shifting the rest of
his body.

He looks as though he has simultaneously won the lottery and
received a lobotomy.

<b>INT. HALFORD'S. NIGHT
</b>
The crowd's a bit thinner than before.

As Dot Halford begins calling out for everyone's attention, a
few couples make their last-minute way to the door.

<b>			DOT 
</b>	OK everyone. We have a little
	business to attend to now. So
	everyone who'd like to stay, please
	gather in the living room.

She scoops up the bowl and places it on a high end table
which has been put in the middle of the room.

<b>			BEN
</b>		(walking up to Elena)
	Ready to go?

<b>			ELENA
</b>	We're not going anywhere.

Elena waves at Janey Williams, who is standing across the
living room.

Janey looks back without expression.

<b>INT. LIBBETS' APARTMENT. NIGHT
</b>
Libbets and Paul in the same position whence last we saw
them.

Paul delicately leans to one side of the couch and picks up a
phone. He dials a number.

<b>						INTERCUT:
</b>
<b>INT. HOOD LIVING ROOM. NIGHT
</b>
The phone rings. Wendy picks it up.

<b>			WENDY 
</b>	Hood residence.

<b>			PAUL
</b>		(whispering)
	Charles, what time is it?

<b>			WENDY 
</b>	Is this Charles?

<b>			PAUL 
</b>	What time is it?

<b>			WENDY 
</b>	Um, ten-o-five. Why? Where are you?

<b>			PAUL 
</b>	I'm, uh, in the midst of a moral
	dilemma. And I was wondering,
	because I know you're a very moral
	person, and --

<b>			WENDY 
</b>	And?

<b>			PAUL 
</b>	Shit. I can't really talk about it.
	I guess I better get to the train.

<b>			WENDY 
</b>	Right.

<b>			PAUL 
</b>	What are you doing at home on a
	Friday night?

<b>			WENDY 
</b>	I have plans.

Paul hangs up the phone and looks down at Libbets.

Libbets' Allman Brothers tape has run out. The machine makes
a repeated clicking sound as the take up real continues to
circle. The only other sound is the noise of the wind and
rain lashing against the apartment's windows.

<b>EXT. HOOD HOUSE. NIGHT
</b>
Wendy emerges from the house and gets on her bike, but the
ice makes it too slippery. The storm is now in full swing.
She gets off and walks.

<b>EXT. STREET. NIGHT
</b>
Wendy walks, barely keeping her balance in the wind.

<b>INT. HALFORD'S NIGHT
</b>
All the couples are now gathered for the key selection
process, men on one side of the room, women on the other. The
storm can be heard outside.

<b>			DOT 
</b>	Well, what shall the order be,
	alphabetical? In order of
	appearance?

<b>			PIERCE SAWYER 
</b>	Golf handicap! Lowest handicap does
	the honors.

Nervous laughter.

<b>			DOT 
</b>	Golf handicap? Ladies, isn't it up
	to you?

<b>			MARIA CONRAD 
</b>	Oh I'll go first, damn it. Let's
	just line up and get it over with.

Maria chooses Stephen Earle. Hands the keys to him. A
smattering of applause as she takes his arm and they leave.

<b>			MARIE EARLE 
</b>	Good luck!

Neil watches his mother's exit.

<b>						JUMP CUT TO:
</b>
A few more couplings.

<b>						JUMP CUT TO:
</b>
Helen Worthington approaches the bowl. Helen Worthington has
the size and shape of a sumo wrestler.

There is a nervous shifting of weight on the male side of the
room.

Helen delicately reaches into the bowl. Her hands emerge with
a key chain.

George Clair steps forward, obviously depressed, as a
collective sigh of relief goes up from behind him. Ben looks
on, momentarily triumphant.

Elena smiles to herself.

<b>						JUMP CUT TO:
</b>
The Gadds choose each other.

<b>			MRS. GADD 
</b>	Oh, my own husband. Isn't that
	against the rules?

<b>			DOT 
</b>	Try again?

<b>			MRS. GADD 
</b>		(relieved)
	Oh, I think not.

Mr. Gadd smiles as they leave, obviously happy to go.

Finally, only Mark Boland, Neil Conrad, Janey and Jim
Williams, Rob and Dot Halford, Sari Steele, Benjamin and
Elena.

<b>			DOT 
</b>	Getting down to the wire!

Elena steps forward. Benjamin is obviously agitated.

Close on Janey's hands selecting -- away from Ben's equine
key ring.

She lifts up another key ring -- Neil Conrad, the teenager.

She hands the self-important-looking Neil his keys and they
turn to go.

Jim Williams smiles mysteriously to himself.

Ben suddenly lurches forward, semi-drunkenly, trying to
separate Neil from Janey.

<b>			THE GROUP
</b>		(ad lib)
	Hey hey Ben, hang on there a sec.

He backs off, ashamed, and, taking a step backwards, trips
over the coffee table.

Mark Boland helps lift him up.

<b>			BEN 
</b>	Sorry... maybe I should... the
	bathroom?

<b>			DOT
</b>	Right down the hall, Ben.

<b>			BEN
</b>		(muttering)
	Sorry, I'm sorry. Uh, I'll be back.

Dot follows Mark Boland down the hall behind Ben.

Suddenly, it's just Elena and Jim Williams, and Sari Steele
and Rob Halford.

<b>			ROB HALFORD
</b>		(taking Sari's arm)
	Actually, we didn't put our keys in
	at all. But you won't spread it
	around? It's my party, and Dot
	isn't... hey, we're just going to
	slip upstairs for a while. You
	folks like a cup of coffee or
	something before we go?

Elena and Jim look at each other.

<b>			ELENA 
</b>	Rob, we'll fix it for ourselves.
	You two go and get acquainted.
	We'll let ourselves out the front
	door.

Jim and Elena stand there alone.

<b>			JIM 
</b>	Well, I have to say I don't have
	much faith that my car keys are
	still in that bowl. Doesn't seem
	entirely safe, leaving your car
	keys around?

<b>			ELENA 
</b>	Let me.

She takes the bowl and dips her hand in. Two sets are left.
One, her own, she avoids. She takes out Jim's keys and walks
across the room, handing them to him.

<b>			JIM 
</b>	Thanks, but -- oh, I don't think
	so. It's been kind of a
	discouraging evening.

<b>			ELENA 
</b>	You couldn't have hoped for much
	better when you came up the walk.

<b>			JIM 
</b>	Somehow it was different in my
	imagination when I thought about
	it. Actually, I didn't think about
	it at all, really.

They sit down on the sofa.

<b>			JIM 
</b>	You want coffee or something?

<b>			ELENA 
</b>	Well, maybe they have one of those
	filter jobs in the kitchen --

<b>			JIM 
</b>	Look, Elena, the fact that we're
	neighbors... you know, close
	friends, well it sort of makes this
	a little strange, don't you think?

<b>			ELENA 
</b>	My husband is probably passed out
	in the bathroom, or at least he
	wishes he were. I've been married
	to him for 17 years and I don't
	have any intention of going in
	there to get him... so what I'm
	proposing is that since your wife
	has gone off with a boy, and since
	you are standing here alone, I'm
	proposing that you and I do what
	makes sense. Stay warm. Pass some
	time. That's all.

They both look at their hands.

<b>			ELENA 
</b>	Now don't make me feel as if I'm
	being too forward, OK? If you don't
<b>	--
</b>
<b>			JIM 
</b>	What the hey. Let's go for a drive.

<b>			ELENA 
</b>	Okay. Shall we clean up around here
	first? Do you think it's all right--

<b>			JIM 
</b>	Nah, that wasn't in the contract.

But they still walk around turning off lights.

In the hallway, Elena looks a bit mournfully at the light
seeping from underneath the bathroom door. She hears the
sound of running water from inside.

Then she goes into a sideroom and joins Jim. They pick up
their coats.

<b>EXT. HALFORD HOUSE. NIGHT
</b>
Elena and Jim walk outside into the freezing, pelting rain.

Covering their faces, they jog to his car, an oversized
Cadillac. A thick glaze of ice forms on his windshield.

<b>INT. JIM'S CADILLAC. NIGHT
</b>
They climb in.

<b>			JIM 
</b>	We're going to have to defrost this
	thing for a while.

He turns on the ignition, and the vents start to blow cold
air at them.

He leans over and kisses her.

<b>			ELENA 
</b>	Do these seats go back?

That starts it. He jumps at her, unbuckling her and unzipping
himself.

They tangle uncomfortably for a few seconds. And then,
comically, he's in her.

With a groan, it's over in a flash.

Jim pulls himself off, readjusting his pants.

<b>			JIM 
</b>	That was awful, really awful. I'm
	so sorry, Elena.

Elena has somehow worked herself into the cavity of the glove
compartment, and is trying to figure out how to extricate
herself.

<b>			JIM 
</b>	Things are really rotten at home.
	You wouldn't believe how rotten.
	Janey's sick. She's unstable, I
	guess... it's not the right time to
	tell you... but that's it -- it's
	like I can't make her happy, the
	boys can't make her happy, she just
	doesn't --

<b>			ELENA 
</b>	Jim, maybe we should just go. I've
	got to look in on the kids. Paul is
	supposed to be coming back in from
	the city.

<b>			JIM 
</b>	Jesus, let me make it up to you --
	I can do better than that, honestly
<b>	--
</b>
<b>			ELENA 
</b>	Well, we can talk about it.

<b>			JIM 
</b>	That's fine. I wouldn't expect you
	to see it any other way.

<b>			ELENA 
</b>	Maybe you just need -- look, can
	you wait here a sec, I need to tidy
	up -- just a minute, I'll be right
	back. You'll wait?

<b>			JIM 
</b>	Of course.

She opens the door and walks back to the house.

<b>INT. HALFORD'S. CONT'D
</b>
Elena hesitantly walks to the bathroom.

She opens the door. Ben's sitting on the floor, next to the
toilet, woozily flipping through the pages of a magazine.

<b>			BEN 
</b>	Elena.

<b>			ELENA 
</b>	Ben, I've got a ride home. Maybe
	you should sleep this one off on
	the couch here?

<b>			BEN 
</b>	I'll drive you --

<b>			ELENA 
</b>	Ben.

She sits on the toilet next to him, stroking his hair.

<b>			ELENA (CONT'D)
</b>	You're in no condition to drive.
	We'll talk in the morning, OK?

He sits, accepting and quiet.

<b>			ELENA (CONT'D)
</b>	You'll get some sleep on the couch
	out there?

<b>			BEN 
</b>		(looking up at her, with
		 gratitude)
	Sure. I'll try. And we'll talk in
	the morning?

<b>			ELENA 
</b>	We'll talk in the morning.

<b>EXT. WILLIAMS HOUSE. NIGHT
</b>
Wendy walks up the drive in the rain, pauses, then goes to
the front door and knocks lightly. The door swings ajar. She
pushes on it, and lets herself in.

<b>INT. WILLIAMS HOUSE. NIGHT
</b>
<b>			WENDY 
</b>	Anyone home? Hello.

Wendy wanders into the living room, then climbs the steps.
The sound of the wind and the darkness begin to scare her.

She goes into Mikey's room -- it's even more of a disaster
zone than usual.

She sees on the wall his dark-light poster of the 12 (sexual)
positions of the zodiac.

She notices the black garter belt on the floor, and picks it
up, absentmindedly swinging it in her hand as she walks out
of the room.

She walks back down the stairs and into the kitchen, leaving
the garter belt on the counter.

She opens the refrigerator, grabs a jar of peanut butter, and
scoops some up in her finger. As she puts her finger in her
mouth --

<b>			SANDY 
</b>	Wendy.

She gives out a little yelp.

<b>			WENDY 
</b>	Sandy, you scared the shit out of
	me.

<b>			SANDY 
</b>	What are you doing?

<b>			WENDY 
</b>	Just thought I'd stop by.

<b>			SANDY 
</b>	Mike's out -- I think he went to
	Silver Meadow to see if you were
	hanging around there.

<b>			WENDY 
</b>	Yeah.

<b>			SANDY 
</b>		(pause)
	Are you his girlfriend?

<b>			WENDY 
</b>	No.

<b>INT. JIM'S CADILLAC. NIGHT
</b>
Elena gets in. They drive off silently.

<b>EXT. STREETS. NIGHT
</b>
The car moves haltingly through the sleet and ice, inches up
a hill, then falters and slides back silently, circling a
couple of times before crashing into an embankment.

<b>INT. CAR. NIGHT
</b>
As the car slides and crashes amid Jim's and Elena's screams.

Silence.

<b>			JIM 
</b>	You okay?

<b>			ELENA
</b>	Yeah. You?

<b>			JIM 
</b>	Yes. Well, I guess we can walk from
	here.

<b>EXT. CAR. NIGHT
</b>
Jim and Elena get out, shaky, from the car.

They pause for a moment.

The street lamp above them sizzles, but stays on.

They start to walk.

<b>INT. LIBBETS' APARTMENT. NIGHT
</b>
Paul and Libbets, still frozen in the same position. Finally,
Paul gently pushes Libbets' head back.

It slides off his leg and, as Paul lurches forward in a
failed attempt to grab it, Libbets flops backwards, her head
hitting the carpet with a dull but decidedly loud thump.

<b>			PAUL
</b>	Oh shit!

Paul gets up, looks down at her.

She snores.

He runs over to a side table and sees the clock: 11:10.

<b>			PAUL (CONT'D)
</b>	Oh shit oh shit.

He grabs his comic books and runs for the door.

<b>INT. TAXI. NIGHT
</b>
The driver impassively inches down Park Avenue.

<b>			PAUL 
</b>	Oh shit oh shit. C'mon!

<b>INT. GRAND CENTRAL STATION PLATFORM. NIGHT
</b>
Paul sprints down the platform just as the doors are closing.
He barely makes it into the train.

<b>INT. TRAIN. NIGHT
</b>
Paul walks through the nearly empty train car and finds a
seat. He pulls his Fantastic Four comic book out of his coat
pocket.

<b>INT. HALFORD KITCHEN. NIGHT
</b>
Ben makes his way to the kitchen, pours himself a cup of
coffee.

He sees himself reflected in the black glass of the cabinets.

<b>INT. SANDY'S ROOM. NIGHT
</b>
Sandy and Wendy are sitting on the floor. He grabs his G.I.
Joe.

<b>			SANDY 
</b>	Check this out. He's supposed to
	talk all kinds of stuff, but he's
	like malfunctioned.

He pulls the dog tag on the doll, and G.I. Joe emits a
plastic macho voice.

<b>			G.I. JOE 
</b>	Mayday! Mayday! Get this message
	back to base!

<b>			SANDY 
</b>	Same thing. Again and again.

Wendy takes the doll and yanks the cord.

<b>			G.I. JOE 
</b>	Mayday! Mayday! Get this message
	back to base!

<b>			SANDY 
</b>	It's gonna get a lot colder
	tonight, I predict. Probably a
	blackout. Do you have candles in
	your house?
	I know where the candles are, and I
	have my own flashlight. Over there.
	Also, I know where every emergency
	exit is on this floor.

During the course of his monologue, as Wendy looks on, Sandy
calmly ties a noose for his doll.

<b>			SANDY 
</b>	This knot's called a bowline.

He puts the noose over the doll's head, as Wendy holds him.

<b>			G.I. JOE 
</b>	Mayday! Mayday!

<b>			SANDY 
</b>	Let's hang him.

Sandy drapes the noose over the edge of a dresser drawer.
G.I. Joe dangles. They both look at him in silence.

The silence continues.

<b>			WENDY 
</b>	He's dead.

<b>			SANDY 
</b>	If it wasn't raining we could take
	him outside and blow him up.

<b>			WENDY 
</b>	He wouldn't blow up. He'd just get
	all mangled or twisted.

She takes him down and lays him flat on the bed. And then
begins to remove his clothes.

Sandy looks on, desirous.

<b>			WENDY 
</b>	Well.
		(noticing his lack of
		 anatomy) 
	It looks like someone got to his
	private parts before us.

<b>			SANDY 
</b>	Communist Viet Cong.

<b>			WENDY 
</b>	They left it in the jungle.

They speak with high seriousness.

Wendy slides up on the bed where Sandy sits, a pillow on his
lap, and one by one, with exaggerated slowness, she removes
her snowboots, as if they were stiletto heels.

<b>			WENDY 
</b>	Can I get into your bed? 
		(pause)
	With you?

Sandy begins to shake.

<b>			SANDY 
</b>	We -- we have to go to the guest
	room. We can't stay in here. What
	if Mikey? My parents?

<b>			WENDY 
</b>	Don't worry about them. They're at
	that party, getting drunk and
	falling all over each other and
	making jokes about McGovern and
	stuff.

Sandy begins to cry.

<b>			SANDY 
</b>	It's just -- it's just --

She takes his hand, and they walk out of the room and down
the hall, into the guest room.

<b>INT. GUEST ROOM. NIGHT
</b>
Wendy and Sandy enter. She sees the vodka bottle on the
dresser.

<b>			WENDY 
</b>	Want a drink?

<b>			SANDY 
</b>	Vodka?

<b>			WENDY 
</b>	You never tasted the stuff?

She fills the glass to the brim and hands the bottle to
Sandy.

They clink and each toss back a sip -- Wendy almost the
entire glass.

Sandy coughs and gags, but swallows.

<b>			WENDY 
</b>	Try again.

He does.

<b>			SANDY 
</b>	It feels warm.

<b>			WENDY 
</b>	One more shot?

<b>			SANDY 
</b>	Okay.

They drink.

<b>			WENDY 
</b>	Under the covers.

Under they go, and soon every layer of clothing emerges.

<b>			WENDY
</b>		(feeling her way)
	Get 'em off.

Sandy begins to laugh, and soon Wendy joins him.

They roll around on top of each other for a while.

<b>			WENDY 
</b>	Have you ever had a nocturnal
	emission?

<b>			SANDY 
</b>	Huh?

<b>			WENDY 
</b>	That's the name for when you wake
	up and find this little pool of
	sticky stuff, like after a sexy
	dream.

Sandy shakes his head.

<b>			WENDY 
</b>	They didn't tell you this stuff
	yet? What planet do you live on?

Sandy doesn't answer, but climbs back on top of her and
kisses her neck.

<b>			SANDY
</b>	I love you.

<b>			WENDY 
</b>	That's nice. Are you drunk?

<b>			SANDY 
</b>	I don't know. How do I know?

<b>			WENDY 
</b>	I don't know either. You spin
	around, when you lie down.

Sandy rolls off her and lies on his back.

<b>			SANDY (CONT'D)
</b>	I don't think I'm spinning.

They cuddle up together.

He yawns. She yawns.

<b>EXT. SILVER MEADOW. NIGHT
</b>
Mikey walks along the edge of the empty pool in the rain. He
climbs up on the diving board and bounces lightly on it, but
then gets off and stands, looking down at the pool again.

<b>EXT. SILVER MEADOW. NIGHT
</b>
Mikey walks across the field.

<b>EXT. STREET. NIGHT
</b>
The storm has let up. Mikey walks along. With a running
start, he slides on the ice down a hill.

He walks back up and slides again, hollering with joy. He is
an image of a tiny yet absolute and positive freedom.

The streetlights sputter on, then off.

<b>INT. WILLIAMS GUEST ROOM. NIGHT
</b>
Sandy and Wendy lie asleep.

<b>EXT. STREET. NIGHT
</b>
A power line is down. It hisses and HUMS -- a humming very
much like the humming Mikey has been hearing earlier.

The humming takes on the same transcendent tonality to which
Mikey has become so accustomed at such moments.

Mikey sits down on a metal street guardrail, to ponder the
sound and the snaking coil of electricity.

A strange look of almost religious wonder overcomes his face,
as the power line connects to the guardrail.

<b>			MIKEY 
</b>	Oh shit.

Glued by an electrical pulse to the rail, he shakes as the
current flows through him.

After a minute, his body slumps and slides down the road.

<b>INT. TRAIN. NIGHT
</b>
As Paul sits reading on he moving train, the lights inside
begin to sputter, and the train begins to slow. After a few
moments, the train grinds to a halt, and Paul and his few
fellow late night passengers are left in near total dark,
with only the light of an emergency exit sign above Paul's
head to light the scene.

The train is eerily silent.

<b>EXT. HOOD CAR. NIGHT
</b>
Ben drives home.

<b>EXT. STREET. NIGHT
</b>
An emergency vehicle, lights flashing, crawls by Ben's car.
He drives on slowly.

<b>EXT. STREET IN FRONT OF WILLIAMS HOUSE. PRE-DAWN
</b>
Jim and Elena arrive on foot.

<b>			JIM 
</b>	You want to come in, get a cup of
	coffee -- warm up? I can either
	walk you home, or you could crash
	in the guest room.

<b>			ELENA 
</b>	Sure. Maybe coffee.

<b>INT. WILLIAMS KITCHEN. PRE-DAWN
</b>
<b>			JIM 
</b>	Phone's out. I hope the pipe's --

He walks into the kitchen. The pipes have begun to burst.
There's a water leak running down the walls, forming a puddle
on the floor.

Elena has walked into the kitchen behind him. She leans
against the counter, picking up the garter belt without
thinking for a second, then putting it back down.

<b>			JIM 
</b>	Oh well. Why don't you put on some
	dry socks -- and we've got some
	rain boots in the guest closet back
	there. Last room upstairs -- back
	of the hall.

Elena climbs the stairs in her bare feet.

<b>INT. WILLIAMS GUEST ROOM. CONT'D
</b>
Elena opens the door, and discovers Wendy and Sandy asleep.
She stands before the bed, and gazes down on them.

They look almost angelic.

Wendy, sensing her presence in the room, opens her eyes,
slowly coming out of sleep.

<b>			ELENA
</b>		(heartbroken, softly)
	Get dressed.

Elena walks out of the room, back to the kitchen.

Wendy gets out of bed quietly, leaving Sandy sleeping
peacefully.

She looks at him lovingly, and tucks the blanket back up
around him.

<b>INT. WILLIAMS KITCHEN. DAWN
</b>
Elena and Jim are drinking coffee.

<b>			ELENA 
</b>	You should let him sleep.

Wendy enters. She looks inquisitively at the two adults.

<b>			WENDY 
</b>	Where's dad?

<b>INT. HOOD CAR. DAWN
</b>
Ben continues to drive slowly. He looks out his side window,
and sees something. He puts on his brakes.

<b>EXT. STREET. DAWN
</b>
Ben gets out of the car, and stands on the top of an icy
embankment. In a clump of bushes is the orange glow of a
parka.

He walks hesitantly toward it. Mike's body lies face down in
the wet ice.

Ben leans down and turns the body over, then stands back in
amazement and saddened shock.

He stands there for a moment, then picks Mike's body up,
carrying him over the hill and onto the street. We see now
that he is parked just a short block from the Williams's
house.

He bypasses his car and walks directly down the street toward
the house. The effort is obviously enormous. He falls from
time to time, then gets back up.

<b>INT. TRAIN. PRE-DAWN
</b>
Various passengers asleep.

Paul, hunched up in his seat under the faint emergency exit
light, cold. He reads his comic book by the light of the
emergency exit.
<b>	"DON'T YOU SEE, SUE? HE WAS TOO
</b><b>	POWERFUL... IF HIS ENERGY HAD
</b><b>	CONTINUED TO BUILD, HE WOULD HAVE
</b><b>	DESTROYED THE WORLD!"
</b>
Suddenly, the lights begin to flicker on and the hum of the
train's engines returns.

The conductor enters the car, blasting forth in his classic
nasal train conductor voice.

<b>			CONDUCTOR
</b>	Good morning ladies and gentlemen --

On Paul, squinting in the harsh light.

<b>EXT. TRAIN BRIDGE. PRE-DAWN
</b>
The train moves slowly through a suburban, semi-forested
landscape. On the street below the bridge, an emergency
highway crew is removing a fallen tree, their trucks aglow in
flashing yellow lights.

<b>INT. WILLIAMS KITCHEN. DAWN
</b>
Elena pours Wendy a cup of coffee. They're both in their
coats.

<b>			WENDY
</b>	I don't like coffee.

<b>			ELENA
</b>	It'll warm you up.

Elena sits next to her. They both raise their cups and sip
the coffee, not noticing the simultaneity of their movements.

<b>INT. GUEST ROOM. DAWN
</b>
Jim watches the sleeping Sandy, picks up the half-empty
bottle of vodka, pours himself a drink. The noise wakes Sandy
up. Jim sits down on the bed at his feet and takes a sip.

<b>			SANDY
</b>	Dad?

Jim looks at him.

<b>INT. KITCHEN. DAWN
</b>
Elena and Wendy hear a hollering from outside, get up to see
what it is.

<b>EXT. WILLIAMS HOUSE. DAWN
</b>
Elena and Wendy come out the front door, as Ben lays Mikey's
body onto the ground before the front steps.

<b>			ELENA 
</b>	Ben?

He's too breathless to speak.

They stand there, looking down at Mikey.

Behind Elena and Wendy, Jim appears.

He pushes softly by them toward the body of his son.

<b>			BEN
</b>	Jim -- he was just up --  in Silver
	Lane -- I think maybe -- a power
	line --

Jim picks up his son.

He carries him silently into the house.

Sandy, now standing inside the foyer, pushes himself back
against the wall as they pass, without expression.

After a moment, from outside, the Hoods can hear Jim's
wailing.

<b>			BEN 
</b>	Do you think? Maybe we should call
	someone --

<b>			ELENA 
</b>	The phone's out.

<b>			BEN (CONT'D)
</b>	Yeah. Well, we can just --

<b>			ELENA 
</b>	Ben, I don't think he wants us
	here.

Wendy has been watching Sandy through the screen door.

<b>			WENDY 
</b>	Wait, I --

She turns back up the front steps and gently goes in --

<b>INT. WILLIAMS LIVING ROOM. CONT'D
</b>
on the living room floor, Jim is hugging Mike's body, his
shoulders shaking uncontrollably, sobbing.

Wendy walks and stands next to Sandy, who is filled
momentarily with a brief inexplicable rush of anger toward
her -- but she takes him and gives him an awkward, childlike
hug, then turns and runs out the door, joining Ben and Elena
on the driveway. Sandy watches her go, his face wet with
tears.

<b>EXT. WILLIAMS HOUSE. CONT'D
</b>
<b>			ELENA 
</b>	Oh you know, for a minute I thought
	it was --

<b>			BEN
</b>	Paul? Yeah. You think --

<b>			WENDY 
</b>	He's probably been waiting all
	night at the station.

<b>			BEN 
</b>	C'mon.

<b>EXT. STREET. DAWN
</b>
Elena, Wendy, and Ben reach the car and get in. The car
starts and drives off.

There are more crews out cleaning up the storm's debris and
fixing the power lines as they drive.

<b>EXT. CONRAIL STATION. EARLY MORNING
</b>
The train slowly pulls in. The Hood family walks down to the
end of the platform.

The train doors open, and Paul, tired and a bit cramped,
emerges. He sees his family gathered at the other end of the
platform, and walks to them.

They stand, silent, even dignified, awaiting him.

When he joins them they all walk silently to the car and get
in.

<b>INT. HOOD CAR. EARLY MORNING
</b>
Sunlight floods in and temporarily blinds Ben as he starts
the engine.

He squints, his eyes tearing a bit from the light.

He looks around, first at his wife, then at his two children
sitting in the back seat.

He turns off the engine. Quietly, he begins to cry.

He turns to the back seat.

<b>			BEN 
</b>	There's something -- your mother
	and I -- have to tell you two --

Elena puts her hand out, almost touching him.

<b>			ELENA
</b>		(softly)
	Ben.

Paul looks at Wendy, silently asking her what's happening.

She casts her eyes downward, as does he.

<b>			ELENA (CONT'D)
</b>		(her hand still not yet
		 touching him)
	Ben.

<b>EXT. STATION PARKING LOT. MORNING
</b>
From above:

The car, the first morning light shining upon it.

<b>				  THE END
</b>

</pre>
</pre><br>
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	<td><h1>Ice Storm, The</h1><br><br>
	    <b>Writers</b> : &nbsp;&nbsp;<a href="/writer.php?w=James Schamus" title="Scripts by James Schamus">James Schamus</a><br>
    	<b>Genres</b> : &nbsp;&nbsp;<a href="/genre/Drama" title="Drama Scripts">Drama</a><br><br><br>
		
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Who's body does Ben find on the side of the road?
Who s body does Ben find on the side of the road ?
Mickey's
Mickey s
He finds Mikeys body on the side of the road.
He finds Mikeys body on the side of the road .