G.E. Farrell
INT - SUBWAY TRAIN - EVENING
The camera moves through a crowded train as the credits roll to the music of Ten Years After doing “If You Should Love Me”.
INT - SUBWAY TRAIN - EVENING
As the music ends the camera focuses on Andy who is reading the Wall Street journal. When he drops a section to the floor, he bends to retrieve it. At just that time, the train picks up speed and propels him into Darcey, almost knocking her over.
ANDY
Excuse me! It was an accident. I didn't mean to... Are you all right? You're not hurt, are you?
DARCEY
No, I'm not hurt. I'm all right, I think. You really have
to hold on. You never know when the train will jerk like that.
(The train jerks again.)
See?
ANDY
Yeah, I know. I dropped a section of the paper. I should have waited until we got to the station to bend over and pick it up. I'm really sorry.
DARCEY
No harm done.
The train stops. The doors open. She smiles at him and leaves. He bends down and picks up the section of his newspaper that he sought when he tumbled into her.
He pages through the newspaper as the train doors close and the train moves. A few moments later, the train pulls into another station. He folds the paper, puts it under his arm and gets off the train.
CUT TO:
INT - SUBWAY STATION - EVENING
Andy departs the train. The doors close behind him as he walks
away. The train pulls out of the station as he approaches a
stairway and climbs the stairs.
CUT TO:
INT - ANDY'S APARTMENT - EVENING
The inside of the door. The doorbell rings. Andy enters. He is pushing his shirt tails into his traousers. He looks through the peep hole and then opens the door. Kim is there. She smiles.
KIM
(At the doorway.)
Hello.
ANDY
Hello.
KIM
May I come in?
ANDY
Of course. I'm just finishing dressing. Let me just get my shoes.
CUT TO:
INT - ANDY'S APARTMENT - EVENING
Andy steps back. Kim enters the apartment. Andy closes the door.
ANDY (CONT'D)
I just have to get my shoes and comb my hair.
KIM
All right. I hope that you're hungry.
ANDY
(Goes off screen)
Hungry as a bear. Let's go someplace where we can get some real
food rather than one of those trendy places that hires an interior
decorator as a chef.
KIM
Good idea. I feel like having something substantial myself. How about that Irish place on Vanderbilt?
ANDY
(O.S.)
Great. A steak is just the thing. (Re-enters) I'm
all set.
KIM
How about a kiss?
ANDY
Of course. You must forgive me; I've had a rough day. Almost knocked a woman over on the train coming home tonight. I'm so glad to see you though. (They kiss.)
KIM
That's more like it. Why did you knock the woman over?
They talk as they go to the door and open it.
ANDY
I dropped the newspaper and bent over to pick it up just as the train speeded up. It was embarrassing as hell.
KIM
You didn't hurt her, did you?
ANDY
No, she was all right.
They exit through the door.
CUT TO:
INT - RESTAURANT - EVENING
Darcey enters the restaurant with Jennifer, Stella and Teresa. They approach the matre'd.
MATRE'D
Good evening. Table for four?
JENNIFER
Yes, please.
MATRE'D
Follow me please.
The matre'd leads the three women to a table where she places menus.
TERESA
Thank you.
The four women take seats as the maitre'd exits. Jennifer looks around.
JENNIFER
Very nice place, not too fancy though.
TERESA
No, it's not. The food's good though.
STELLA
I didn't know that you were here before.
TERESA
A few times. Danny liked it here.
STELLA
Then I’m surprised that you would come here.
JENNIFER
So, Darcey, how have you been?
DARCEY
I've been all right.
TERESA
It's been so long.
STELLA
Don't.
A bus boy approaches and distributes four glasses of water.
TERESA
I just said that it's been a long time since we've seen her, that's all.
JENNIFER
It's no secret that you've been in mourning. You have to come back to the world now though. It's time.
STELLA
Oh, Jennifer!
DARCEY
It's all right. I agree with you. Life goes on. It
was hard for a while though.
TERESA
We were here for you, darce. You should've called us.
DARCEY
I appreciate that.
A waiter enters.
WAITER
Would you like a drink before ordering, ladies?
STELLA
Yes, a strong one.
CUT TO:
INT - RESTAURANT - EVENING
The maitre'd leads Andy and Kim to a table next to that occupied by Darcey and the others. Neither Darcey nor Andy notices the other. Andy takes a seat with his back to Darcey who is sitting with her back to him.
KIM
(To maittre'd)
Thank you.
ANDY
(Looks at menu.)
This is what we're looking for, real food. We can dine here rather
than graze.
KIM
I just asked if you would care to try a vegetarian place, that's all.
A waitress enters and approaches the table.
WAITRESS
Good evening. May I get you a drink?
Andy looks at Kim.
KIM
Do you have White Zinfandel?
WAITRESS
Yes, we have.
KIM
I'll have a glass of that.
ANDY
I'll have a pint of beer.
WAITRESS
All right.
The waitress exits. The waiter enters and brings drinks to Darcey's table.
KIM
So tell me about your day.
ANDY
I'd rather just forget it. We lost a big client. It may
mean that heads are going to roll.
KIM
Not yours.
ANDY
No. I wasn't involved. The guy was a swine anyway but he's a friend of one of the name partners and he and another partner had a nasty argument because he wanted to evict a bunch of people from a building to tear it down and the partner refused to look for a way to evade the law that forbids him to do it. He called the partner a cANDY ass and a liberal. I think being called a liberal is what did it; he's head of the Republican Club downtown. He called the client a horse's ass and a criminal.
KIM
Is he?
ANDY
A horse's ass?
KIM
A criminal.
ANDY
I don't know him well enough to say, but he does seem to suffer from ethical failings on occasion.
KIM
Good riddance to him then.
ANDY
Maybe. He brought a lot of money to the firm.
KIM
But if he's dishonest....
ANDY
Lawyers defend dishonest people; they don't run them off.
KIM
That's not something to be proud of.
ANDY
No, it's not; is it? There may be repercussions though. If the firm can't make up the loss, they may have to let some of us go. The partner will almost certainly be asked to leave.
KIM
For doing the right thing?
ANDY
Welcome to the real world; not very pretty, is it? Would you excuse me for a moment?
KIM
Sure.
Andy rises and goes to the men's room. The men's room and ladies' room are next to each other. He goes into the men's room, a split second before Darcey emerges from the ladies room and returns to her table.
JENNIFER
Darcey, I was wondering if you would like to meet a friend of mine, a guy I work with. He's very nice; I think you'd like him.
STELLA
Jenny!
DARCEY
I don't think I'm quite ready for anything like that yet. Thanks anyway though.
JENNIFER
Just trying to help. I'm sorry. One of these days my mind and mouth are both going to work and I won't know what to do.
TERESA
I don't think there's too much danger of that happening any time soon.
DARCEY
I appreciate the concern, really I do.
FADE OUT:
INT - SUBWAY STATION - MORNING
Andy stands on the platform reading some papers as a train pulls in and stops. The doors open and he gets on.
CO TO:
INT - SUBWAY - MORNING
Darcey stands in the crowded car. A number of people get on. The doors close and the train moves. Andy squeezes through the crowd and stands near Darcey. He sees her and smiles. She smiles in return. He reads his papers.
CUT TO:
INT - SUBWAY STATION - MORNING
A train enters the station and stops. The doors open and a large number of people disembark including Darcey and Andy. They walk to the stairway and up the stairs.
FADE OUT.
FADE IN:
EXT - CITY STREET - MORNING
Darcey and Andy and a number of people stand at the corner waiting for the light to change. When it changes, they cross the street and walk toward the entrance of an office building.
CUT TO:
INT - OFFICE BUILDING - MORNING
Darcey pushes through the reveolving doors followed by Andy. They
walk toward an elevator bank where they stop to wait for the elevator.
ANDY
Excuse me. Do you work in this building?
DARCEY
Yes, I do. You do too.
ANDY
Yes. I hope that you have no bruises this morning.
DARCEY
I beg your pardon!
ANDY
From our encounter on the train last night. I plowed into you
when I tried to pick up my newspaper that I... I maybe should
have used different words.
DARCEY
Oh! No, that's all right. I'm fine. Thank you for asking.
A bell rings signaling the arrival of the elevator. Darcey gets on but it's too crowded for Andy to get on. He waves to her and she smiles as the doors close. Another elevator arrives immediately and Andy gets on. The doors close.
FADE OUT.
FADE IN:
INT - SUBWAY STATION - EVENING
The train platform is crowded with milling passengers.
A train is in the station with its doors open but nobody is on it.
Darcey stands amidst the crowd looking about. Andy enters.
ANDY
Hello.
DARCEY
Hello.
ANDY
Do you know what's wrong?
DARCEY
No.
A man passes them talking into a cell phone.
MAN
There's a delay on the goddammed subway. Some sort of...
A woman then passes also talking into a cell phone.
WOMAN
There's something wrong with the gaddammed train. I don't know....
ANDY
It seems that the goddammed train's not running.
Darcey laughs.
ANDY (CONT'D)
Has there been any announcement?
DARCEY
Not since I've been here.
ANDY
That doesn't make for a very promising situation. Let's take a cab.
DARCEY
A cab?
ANDY
Yeah. I'll pay for it.
DARCEY
My experience has been that if you're patient, the train will start running again.
ANDY
I don't doubt that. However, it's already been a long day. I'm going to take a cab. You're welcome to join me if you like.
DARCEY
All right. But you have to let me pay half.
ANDY
It's a deal. After you.
DARCEY
I think that you should go first. The crowd is too large for me to push through.
ANDY
All right. (Loudly) Excuse me! I have a sick woman here. Can we get through please. A sick woman. Excuse me!
He pushes through the crowd with Darcey following behind. The scene fades.
INT - TAXI CAB - EVENING
DARCEY
You're very resourceful.
ANDY
Thank you. You work long hours.
DARCEY
Yes. I'm a network manager for a large corporation.
ANDY
Oh yeah? Computers. I should have got into that.
DARCEY
What do you do?
ANDY
I'm a lawyer.
DARCEY
Oh.
ANDY
You're disappointed? It's not like I said mass murderer.
DARCEY
Is there a difference?
ANDY
Yes, there's a difference. (He laughs.) That's good.
I'll have to tell that to my boss. He has no sense of humor;
it'll scandalize him. You don't mind my repeating that?
DARCEY
Feel free.
ANDY
My name is ANDY.
DARCEY
I'm Darcey.
ANDY
Hello, Darcey.
DARCEY
Hello, ANDY.
They shake hands as scene fades.
INT - KIM'S APARTMENT - EVENING
Andy approaches and rings the buzzer. There is no answer for a long while. As he is about to ring again, the door opens. Kim is inside the doorway. She is wearing a robe over a nightgown.
ANDY
Hello.
KIM
Come on in.
CUT TO:
INT - KIM'S APARTMENT - EVENING
Andy enters. He is dressed in a suit. He appears confused.
Kim closes the door.
ANDY
Did you forget the premier?
KIM
No. Ive decided to go to bed early. I need the rest.
ANDY
Oh?
KIM
Yeah. I, ah... I met somebody else, Andy. A guy at work. My boss actually. I didn't want to tell you over the telephone so I waited for you to come over. I'm sorry.
ANDY
Really?
KIM
I feel like such a pig but I've fallen in love.
ANDY
Isn't your boss married?
KIM
Let's not get into it, Andy. I feel bad enough already.
ANDY
No, maybe you're right. I guess there's nothing left to be said. Though if you don’t mind I would like to say that I’m a wee bit surprised, a wee bit. That’s the gentlemanly way of saying that I’m.... Oh, the hell with it.
KIM
(She cries.)
I'm so sorry, Andy. I didn't want this to happen.
ANDY
What the hell are you crying about? I'm the one who's been stuck with the God damned tickets. Yet you're crying.
KIM
(Still crying.)
Can't you get someone else to go?
ANDY
Sure I can. Hell, I've got a whole thirty-five minutes. Would you excuse me please, I have to go make some calls. Not many though. When you've been dating the same woman for two years, your little black book tends to atrophy. I'm sure that someone in it will love to go to a premier on thirty-one minutes notice though. Goodbye, Kim.
KIM
(Still crying.)
Goodbye, ANDY. Please don’t think badly of me.
ANDY
No, of course not. Why should I?
Andy goes leaving the door open behind him. Kim closes it and leans against it still crying as the scene fades.
EXT - CITY STREET - EVENING
Andy is walking down the street, dressed as he was in the previous scene. He is obviously angry. He looks up, then down, then up again. He recognizes somebody.
CUT TO:
EXT - CITY STREET - EVENING
Darcey is walking with Jennifer. they are talking but their words are covered by street noise: honking horns, automobiles, etc. Andy approaches. They do not notice him until he stands before them. They stop.
CUT TO:
Closeup of ANDY.
ANDY
Hello again.
CUT TO:
Closeup of Darcey and Jennifer. Jennifer looks at Andy, then at Darcey.
DARCEY
Hello.
ANDY
Excuse me for being forward but I have tickets for a movie premier that begins in twenty-five minutes and my date canceled at the last minute. Would you be able to join me? I'll throw in a late supper after the show.
DARCEY
Excuse me?
ANDY
No, excuse me. I shouldn't have asked. Here, why don't you and your friend go to the premier? here, take the tickets.
JENNIFER
No, you go, Darcey. Go ahead.
DARCEY
No.
JENNIFER
Don't be a fool, go ahead.
ANDY
No, I'm the fool. Please forgive me. I don't know what I'm doing. Please just forget that I said anything. The movie will probably stink anyway.
Andy starts away.
JENNIFER
No, wait! Darcey...
DARCEY
(Whispers)
I hardly know the man.
JENNIFER
(Whispers)
It's only a movie.
JENNIFER (CONT'D)
(To ANDY)
She'll go.
JENNIFER (CONT'D)
(To Darcey.)
Give me those packages. I'll drop them off at your place tomorrow.
Give them to me.
Darcey obeys.
JENNIFER (CONT'D)
Have a nice time. (She smiles at Andy and exits.)
ANDY
Now I feel awkward as hell.
DARCEY
So do I. I'm not even dressed.
ANDY
You look fine. Even better than fine.
DARCEY
Sure. Hadn't we better go?
ANDY
Yeah, we'd better. Let's get a cab.
Andy steps into the street and waves down a cab. They get in and close the door as the scene fades.
INT - FAST FOOD RESTAURANT - EVENING
Jennifer, Stella and Teresa sit at a table eating and drinking soft
drinks.
TERESA
I haven't met him but he seems okay.
STELLA
He's a dream.
JENNIFER
He's not a dream. But he is very nice.
STELLA
I hope he treats her well. She deserves it.
JENNIFER
(To Teresa)
Not the way Danny treated you.
TERESA
You didn't have to say that, Jen.
JENNIFER
Well, he did.
TERESA
He did not. We went our separate ways, that's all.
JENNIFER
You moped for three months, Teresa. You know you did.
TERESA
I did not. Stella moped when Brian dumped her, not me.
STELLA
Don't drag me into this. And Brian didn't dump me. I left him.
JENNIFER
Oh, sure.
STELLA
I did.
TERESA
What's been happening with you and Gerard?
STELLA
I saw him with Anne Crander last week.
JENNIFER
Nothing is happening.
TERESA
Why don't you call him?
JENNIFER
Never!
STELLA
I would.
TERESA
So would I.
JENNIFER
I wouldn't. Imagine, calling a man. You wouldn't.
TERESA
I would.
JENNIFER
You would not.
STELLA
Is Darcey happy with ANDY?
TERESA
it’s too early to say; she’s only seen him once. But I have a feeling that she’s going to be happier than she's been in a long time.
JENNIFER
She'll be her old perky self again.
TERESA
That's what a man does for you.
STELLA
Don't start that again. Women can get along very nicely without men, thank you.
TERESA
But they get along better with them.
JENNIFER
I have to go and pick up my dry cleaning before they close. I don't have a thing for work tomorrow.
TERESA
I'll go with you.
STELLA
Me too.
The women rise, collect the refuse from the table, deposit it in the trash and exit as the scene fades.
INT - ANDY'S APARTMENT - EVENING
The buzzer sounds. Andy enters the frame, looks through the peephole and opens the door. Jennifer and Stella are at the door.
CUT TO:
INT - THE HALLWAY OF ANDY'S APARTMENT - EVENING
JENNIFER
Hello. I'm sorry to disturb you but I'm Darcey's friend Jenny. This is Stella. You remember me. I was with Darcey that night when you asked her to the movie.
ANDY
Sure. What can I do for you?
JENNIFER
May we come in?
ANDY
Sure. Come on in.
CUT TO:
INT - ANDY'S APARTMENT - EVENING
Andy steps back and the two women enter, Jennifer first. Andy
closes the door while the women look around.
ANDY
Please excuse the condition; I wasn't expecting company.
JENNIFER
Oh, that's all right. We've seen plenty of men's places.
STELLA
Jenny!
JENNIFER
What?
ANDY
Won't you sit down?
STELLA
Thank you.
The two women sit on a couch. Andy sits on a kitchen chair that he pulls over.
STELLA (CONT'D)
Well...
JENNIFER
Yeah. Well, we're friends of Darcey, as you know.
ANDY
Yes?
JENNIFER
Did you have a good time at the movie? Darcey said it was very
nice.
ANDY
Yes, it was.
STELLA
Darcey's a special person. We think a lot of her.
ANDY
She's very nice.
JENNIFER
Yeah. She's a widow.
ANDY
Really?
STELLA
Yes. We really shouldn't be doing this but we're very concerned about her. Her husband was killed in a plane crash about six months ago.
JENNIFER
They never found the body.
STELLA
And we thought that we should tell you that she's kind of fragile still. I know that this seems presumptuous. You only went out with her once, and may never see her again, but we thought that if you have intentions toward her, you should know.
JENNIFER
Her husband was a great guy and she loved him very much.
STELLA
She hasn't been out of the house since the crash, except the other night when we finally talked her into joining us for dinner. She's still mourning.
JENNIFER
Yeah. And we thought that we would help her get back into the swing of things. You can't spend your whole life mourning no matter how great the tragedy. Especially someone as special as Darcey.
STELLA
As I said, we thought that you should know. It's not that we are trying to convince you to see her again or not to see her again but we thought that if you did, you should be aware so that you would take her situation into consideration. She's kind of vulnerable right now.
JENNIFER
I hope that you understand.
ANDY
I do. And I appreciate your telling me this. Does Darcey know that you came here?
JENNIFER
No! Please don't tell her; she'll be mad.
ANDY
I won't. To tell you the truth, I don't even know if I'm going to see her again. I didn't even think to get her phone number. Though we take the same subway train and work in the same building.
JENNIFER
I hope you do because I think you're nice.
STELLA
Jenny!
JENNIFER
What?
STELLA
You never know what she's going to say.
JENNIFER
What did I say?
ANDY
I didn't know that she was a widow. We really didn't talk about our pasts. I guess that's not really something that you discuss on a first date. Was she married long?
STELLA
Less than a year.
JENNIFER
She loved him a lot. We thought that she would die of grief when
it happened.
ANDY
Maybe it's still a bit too soon, only six months. It often takes longer...
JENNIFER
No! It's been long enough. It's time for her to be out and around again.
STELLA
What she means is that Darcey's been mourning long enough. She should be socializing again now. Doing things to take her mind off what happened.
JENNIFER
That's what I said. Isn't it?
ANDY
I appreciate your telling me this but like I said I don't know if I'm going to see her again. I wish I had something here to offer you but I don't, unless you'd like some instant coffee.
JENNIFER
Thanks, but we have to go. We only came here to tell you about Darcey.
Jennifer stands. Then Stella stands. The scene fades.
INT - RESTAURANT - EVENING
Darcey, Stella and Jennifer sit around a table having drinks.
DARCEY
You didn't.
JENNIFER
We were thinking of you, Darcey, and we knew that you probaly wouldn't tell him so we did.
DARCEY
How could you?
STELLA
He's very nice.
JENNIFER
And cute.
DARCEY
How can I ever face him again?
JENNIFER
Why didn't you give him your number?
DARCEY
You didn't.
STELLA
No, we didn't.
JENNIFER
What kind of people do you think we are?
DARCEY
I'm mortified.
JENNIFER
When are you going to see him again?
DARCEY
I don't even know the man.
JENNIFER
He'll ask you out again.
STELLA
He seemed very interested.
DARCEY
Oh God!
STELLA
I wish somebody like that would ask me out.
JENNIFER
I have first dibs if Darcey's not interested.
STELLA
Why you?
DARCEY
How could you?
The scene fades.
INT - OFFICE BUILDING LOBBY - MORNING
Darcey waits for an elevator. Andy enters. She sees him.
ANDY
Good morning.
DARCEY
Good morning. (There's a moment's awkward silence.) My friends Jenny and Stella came to see you.
ANDY
They told you, did they?
DARCEY
Yeah. They shouldn't have.
ANDY
They were only thinking of you.
DARCEY
They still shouldn't have.
ANDY
It's nothing to be embarrassed about.
DARCEY
But I am.
The elevator comes. Darcey starts toward it.
ANDY
How about having dinner together tonight?
DARCEY
(Hesitates)
All right.
ANDY
Meet you here about six?
DARCEY
Okay.
Darcey squeezes into the elevator. She smiles and waves to him as the doors close and the scene fades.
INT - A CITY STREET - DAY
Darcey, Stella, Teresa and Jennifer are walking and talking animatedly. Gerard enters. He smiles at Jennifer.
GERARD
(To Jennifer)
Hi. How you doing?
JENNIFER
Hello.
Gerard exits. The girls stop and look after him.
STELLA
Who was that?
JENNIFER
Just a guy I know.
TERESA
What's his name?
JENNIFER
I don't remember.
DARCEY
He's cute.
TERESA
He's gorgeous.
They begin walking again.
STELLA
(Stops)
That was Gerard!
TERESA
Was it?
STELLA
(To Jennifer)
It was, wasn't it?
JENNIFER
What difference does it make?
TERESA
It was Gerard. Why didn't you talk to him?
DARCEY
I can't believe it. Jennifer struck speechless.
TERESA
And by a man.
STELLA
Why didn't you talk to him?
JENNIFER
I said hello.
STELLA
That's not what I mean.
TERESA
Let's go get him. I think he went into the drug store.
JENNIFER
Don't you dare.
TERESA
Why not? You like him and he's unattached. What are friends for?
JENNIFER
If you do, I'll never speak to you again.
DARCEY
He's very cute.
STELLA
I'm with Teresa; we should go talk to him.
JENNIFER
I'm leaving.
TERESA
We'll give him your address and phone number.
JENNIFER
I hate you all.
Jennifer walks away.
TERESA
No sense of humor.
STELLA
None.
TERESA
I'd go after him.
STELLA
Me too.
The three follow Jennifer as the scene fades.
EXT - CENTRAL PARK - DAY
Darcey and Andy are walking along a path in the park. In line slaters, bicylcists and joggers pass them as they walk. A calliope can be heard in the distance.
ANDY
(Stops, listens)
Do you hear that?
DARCEY
What?
ANDY
That music.
DARCEY
(Listens)
Yeah, I hear it.
ANDY
Let's ride the carrousel.
DARCEY
The carrousel!
ANDY
Yeah. I haven't done that since I was little.
DARCEY
All right.
They hurry along the path to the carrousel house where they stand on line for tickets. Andy turns and looks at Darcey who looks back at him. They laugh. They purchase tickets and go inside.
CUT TO:
INT - THE CARROUSEL HOUSE - DAY
The carrousel slows and then stops. Andy and Darcey walk through the lines of wooden horses until they find two that they like. They mount and laugh again. They are surrounded by children on the horses and seats but pay them no mind. The music begins again and the carrousel begins to move. It picks up speed. Andy and Darcey ride around on their horses, occasionally looking at each other and smiling until the music fades and the carrousel stops slowly. They dismount and leave the carrousel house.
EXT - CENTRAL PARK - DAY
Darcey and Andy emerge from the carrousel house and squint at the sunlight.
ANDY
That was great. How about an ice cream?
DARCEY
I'd prefer a lemonade.
ANDY
Lemonade it is.
CUT TO:
EXT - CENTRAL PARK - DAY
Darcey and Andy stroll while drinking lemonade. A montage follows over which the song "Where Did My Legs Go?" from John Mayall's USA Union plays. They move to the side of the road while a group of skaters pass by. They then throw a frisbee back and forth. The frisbee hits Andy in the head. He falls over. Darcey rushes to his side with mock concern. She puts her hands to her face in mock horror. She kneels and prays. Andy pulls her down onto the ground with him and kisses her. They laugh. They walk, hand in hand, over a footbridge in the park. They're at the zoo where Andy addresses the animals. Darcey looks around to be sure that no one sees her with him. They are before the statue of Shakespeare where Darcey declaims in an exaggerated manner. They are then on a bench on the mall where they share a tender kiss. The scene fades.
CUT TO:
INT - DEPARTMENT STORE - DAY
Teresa, Jennifer and Stella are looking at skirts in the ladies apparel section of a department store.
STELLA
(Holds a skirt before her in front of a mirror.)
I love it. It will go beautifully with my pastel
green blouse.
TERESA
Do you think so?
STELLA
Don't you?
TERESA
I don't know.
JENNIFER
It's not for you, Stella. It doesn't suit you at all.
STELLA
No?
JENNIFER
No.
TERESA
I agree.
JENNIFER
Let me try it.
STELLA
No. Either I buy it or no one buys it.
TERESA
Don't buy it.
STELLA
No, you're right.
TERESA
How about this. This is cute.
STELLA
Do you think so?
JENNIFER
It is cute. I don't know why you even bother, Stella. Everything looks good on you.
STELLA
Everything looks good on Darcey. Nothing looks good on me.
TERESA
That's true. I could kill her sometimes. Have either of you heard from her?
STELLA
I talked to her last night.
JENNIFER
And?
STELLA
And she’s fine. She’s still
seeing ANDY and everything is fine.
TERESA
She has all the luck. If I
didn’t love her so much I’d hate her.
They go about their shopping as the scene fades.
INT - ART GALLERY - EVENING
Darcey and Andy enter together. Darcey holds a guide. They
approach an exhibit of broken cinder blocks.
ANDY
What's this called?
DARCEY
(Looks at the guide.)
I think it's called "The Hope of Civilization". At least that's
what it says here. Oh! There's a card. Right, that's
what it's called.
ANDY
"The Hope of Civilization".
DARCEY
Right.
ANDY
Looks like broken cinder blocks to me, but I'm no artist.
DARCEY
Well, it does look like that. Maybe we just don't get it.
ANDY
Get what?
DARCEY
"The Hope of Civilization".
ANDY
Don't say it too loud. These sophisticates will think that we're philistines.
DARCEY
Philistines? Maybe we are.
ANDY
Maybe this is just broken cinder blocks.
DARCEY
It can't be cinder blocks; the card says that it's "The Hope of Civilization". We must be philistines.
ANDY
And proud of it. Some of my best friends are Philistines. That’s a Pacific archipelago?
DARCEY
Archipelago? Isn’t that a patronizing bird?
ANDY
A what? Oh! No, that’s an arch pelican.
DARCEY
If this is the hope of civilization, I'd prefer to be a
pelican. You know what's interesting about this exhibit?
ANDY
Yeah, no tax money went into it.
DARCEY
That too. But I haven't seen a thing that makes any sense. Never mind anything artistic. It's all crap.
ANDY
Shh! If anybody hears you, you'll never be invited to another one.
DARCEY
I can handle that.
ANDY
A pint of beer with a frothy head on it is the kind of art that would be appropriate at this particular moment.
DARCEY
You are a philistine. Off to pelican land with you.
ANDY
Does that mean that I don't have to look at any more of this?
DARCEY
We only have a few pieces left. There may be something good here somewhere.
ANDY
I'll bet you that beer that there isn't.
DARCEY
No way. I may be a philistine, but I'm not a sap.
They exit as the scene fades.
INT.-RESTAURANT-EVENING
Darcey and Andy are sitting at a table looking at menus.
DARCEY
(Looking at her menu)
What do you like?
ANDY
(Looking at his menu)
I’d like to put my hand up your
skirt.
DARCEY
(Looks across the table at him,
puts her menu down and then speaks in mock earnestness)
Oh, God! You say the most romantic things.
The restaurant sound system plays “Maxwell’s Silver Hammer” by the Beatles. Andy puts down his menu and sings the song to Darcey. She bangs on the glasses and dishes with a knife and fork in tune to the music. Soon all of the people in the room join in singing the chorus.
When the song ends everybody cheers. Andy takes Darcey’s hand and kisses it. She places her hand on his cheek as the scene fades.
INT.- ANDY’S APARTMENT-EVENING
Darcey and Andy are sitting on a couch having coffee. They have just finished dinner.
DARCEY
You are a wonderful cook.
ANDY
Thank you. But if the truth be told, as they
say, that is the only thing that I know how to
make.
DARCEY
Really?
ANDY
Accept for coffee and tea.
DARCEY
Well, you make it very well.
ANDY
Only because I was inspired.
DARCEY
You make that very well too. What
other talents do you have?
ANDY
None. None at all I’m sorry to
say.
DARCEY
Not a one? You poor boy.
ANDY
Alas. Here I am talentless but not
unlucky.
DARCEY
You have a talent for one thing.
ANDY
How about some music?
DARCEY
Sure.
ANDY
Do you like the music of the World War
II era?
DARCEY
I don’t know anything about it.
ANDY
Would you like to try it?
DARCEY
Why not?
Andy rises and crosses to his stereo. He puts in a CD. The music begins with “Long Ago and Far Away” sung by Jo Stafford. Darcey listens intently for a long moment.
DARCEY
(Cont’d)
That’s very pretty.
ANDY
Yes, it is. Would you like to dance?
DARCEY
Love to.
They rise and dance to the music. When it ends, they kiss. They then walk arm in arm to the bedroom as the scene fades.
EXT.-STREET-DAY
Andy is buying a newspaper from a news stand when Kim enters.
KIM
Hello, Andy.
ANDY
Hi! How you been?
KIM
Good. How about you?
ANDY
Fine. What’s new?
KIM
Not a lot. I have a new job.
ANDY
Do you? Where?
KIM
Here in Manhattan, same as the last one.
ANDY
Sounds good. Do you like it?
KIM
Yeah, I do. My boss in the old place
decided to stay with his wife. So I thought
it best to move on.
ANDY
You’re probably right.
KIM
You should give me a call.
ANDY
Yeah. Yeah, I’ll have to do that some time.
I have to go now though, Kim. I’m meeting
someone.
KIM
Yeah. It was good seeing you. You look
great. So long.
ANDY
So long. And thanks.
They walk off in opposite directions as the scene fades.
FADE IN:
INT.-DARCEY’S APARTMENT-NIGHT
The lights are out. The only illumination is supplied by the moon shining through the curtained windows. A telephone rings. Sleeping Darcey does not move at first, but on the third ring she wakes and becomes aware of what the noise is. She answers.
DARCEY
Hello...yes, who is this?....who?....what time is it?
....yes......yes.....what!.....when?....where?...
really?....Is this some kind of joke?...sure I can.
As soon as I can get a flight. ...where?....I’m on my way.
She hangs up the phone and turns on the lamp next to her bed. She gets up and hurries off as the scene fades.
INT.-ANDY’S APARTMENT-NIGHT
The lights are out. The only illumination is a red light on the stereo. A telephone rings. Andy wakes and answers it.
ANDY
Hello.....Darcey? What time is it?....What?...
What do you mean? I don’t understand...
Hello?..Darcey!..Hello.
He stares at the telephone receiver for a long moment. He then puts it down. He rises from bed and hurries off as the scene fades.
EXT.-CITY STREET-NIGHT
Andy runs along the street. He is wearing slacks and sneakers with no socks. His shirt is open and outside of his slacks. Over all is a long coat, also open.
CUT TO:
INT.-LOBBY OF DARCEY’S APARTMENT-NIGHT
Andy enters hurriedly. He looks at the building index to locate Darcey’s bell. He pushes the buzzer. There is no response. He pushes again. There is still no response. He bangs the button with his fist but there is no response. He visibly deflates. He leaves the building angrily as the scene fades.
INT.-FAST FOOD RESTAURANT-DAY
Andy sits at a table with Teresa, Stella and Jennifer. The women eat burgers and fries while Andy drinks a soft drink.
JENNIFER
I feel so bad for you, Andy.
ANDY
I’m all right. But thank you anyway.
STELLA
She couldn’t really do anything else though.
I mean she had to go when the call came.
ANDY
Yeah.
TERESA
It’s kind of scarey to think that they didn’t
even know for all that time.
JENNIFER
He had casts on his hands so they couldn’t
take finger prints. At least I think they did.
STELLA
Imagine that, all these months in a coma and
nobody knew who he was. Then he wakes up
like he’s been sleeping.
ANDY
Listen, I have to go, eh? Thanks for the
company and your kindness.
Andy rises and exits.
TERESA
I feel so bad for him.
STELLA
He’s got the bug, bad.
TERESA
He’ll get over it. They always do. He’ll
be hitting on one of us before long, you
just wait and see.
STELLA
I wish.
JENNIFER
It is so romantic though, the way she dropped
everything when she got the call and ran to
his bedside.
TERESA
Flew to his bedside.
JENNIFER
You know what I mean. I feel bad for Andy,
but it’s so damned romantic.
STELLA
Darcey has all the luck.
TERESA
What happens to the law suit now? He’s
been found alive so there’s no wrongful
death, at least not for him and Darcey.
STELLA
I doubt that she’s giving it much thought
right now.
TERESA
We should have asked Andy before he left.
JENNIFER
I don’t think so. I agree with Stella. She
really didn’t have a choice; she had to go.
STELLA
I’m sure that she wanted to go.
TERESA
Isn’t that Gerard over there?
STELLA
Where?
JENNIFER
Never mind.
The scene fades.
INT.-SUBWAY CAR-EVENING
The passengers are wet, wearing raincoats and carrying umbrellas. The floor of the car is wet. Andy is reading the newspaper. The train stops at the station where Darcey usually gets off. As the doors close, Andy looks up and sees a woman walking towards the stairway who from the back looks just like Darcey. He goes to the door. As the train brings him up to her, she climbs the stairs so that he is unable to see her face. He stoops to attempt to see her face but the train goes by her. He turns his back to the door a look of sadness and frustration on his face as the train passes out of the station.
CUT TO:
INT.-SUBWAY STATION-EVENING
The top of the stairs where the woman comes into the frame. She is not Darcey. As she passes, the credits roll while “Train to Nowhere” by Savoy Brown plays.
THE END