Pushing Daisies: "pushing Daffodils"

Pushing Daisies "Pushing Daffodils" by R.A. Porter

R.A. Porter 3054 E. Capitan Dreyfus Ave. Phoenix, AZ 85032 Phone: 916.813.9000 Email: [email protected]

ACT ONE FADE IN: INT. SCHOOL GYM - NIGHT YOUNG NED in school blazer, tie, and slacks stands by a refreshment table. The gym is decorated with streamers, banners, and fairy lights. Some BOYS hover nearby, many more are scattered in clots of three or more. NARRATOR The Longborough School for Boys clung firmly to many traditions, but none more firmly than the separation of the sexes. A tweed-clad INSTRUCTOR opens double doors. He is pushed aside by a stream of YOUNG GIRLS, each carrying a daffodil. NARRATOR (CONT’D) But one day each year the musty old school opened its doors to let in the sweet perfume of spring, borne on girls in crepe. The girls spread out and begin targeting the boys. Each girl indicates her selection with her flower. NARRATOR (CONT’D) After the long cold winter, the girls of the Waverly Finishing School augured the coming of spring in parti-colored dresses and carefully coiffed hair. One SHY GIRL stands a few feet from Ned. The other girls and boys are dancing. She casts sideways glances at Ned. NARRATOR (CONT’D) Young Ned did not notice the girl standing near him. He was too busy watching the kaleidoscope of whirling color on the dance floor. The Shy Girl turns to face Ned and nervously walks to him. NARRATOR (CONT’D) Finding untapped reserves of courage, Lucy Winterbottom walked right up to the dreamy young boy adrift in his own world and said hello.

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2.

LUCY (silently) Hello. NARRATOR Finally noticing another person noticing him, Young Ned turned away from the dance floor and turned to the young girl... ...who holds out her drooping daffodil to Ned... NARRATOR (CONT’D) ...and saw that she wanted to join the kaleidoscope of whirling color with him. Deciding it would be nice to be alone with someone else for once, Ned accepted. Ned reaches out to take the daffodil and there is a small SPARK. It stands straighter and becomes a brighter yellow. NARRATOR (CONT’D) Clutching the flower in his right hand, Young Ned led Lucy Winterbottom onto the dance floor. Forgetting his cares for a moment, he smiled as they twirled. The music ends and everyone stops dancing. NARRATOR (CONT’D) When the music stopped, the shy young girl and the shy young boy stood, smiling at each other. Lucy leans in and pecks Ned on the lips. NARRATOR (CONT’D) But when the shy young girl did something not so shy, Young Ned retreated back into his protective shell. Ned runs out of the gym. INT. DORMITORY - NIGHT At his bedside, Ned carefully places the daffodil in a glass of water. He is wearing thick skiing gloves.

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NARRATOR It had been 42 weeks, 1 day, 6 hours and 12 minutes since the last time he'd been kissed, the first time he'd been kissed, by the young girl named Chuck. EXT. CEMETERY - DAY - FLASHBACK Chuck and Ned’s kiss from the pilot. NARRATOR That was the day her father was laid to rest, the day his mother was laid to rest. BACK TO: INT. DORMITORY - NIGHT Ned stares at the flower. Digby, next to Ned, does the same. NARRATOR The memory of his mother's death was still bitter, but it was sweetened by the memory of Chuck's soft lips and the way they tasted faintly of strawberry. He was not ready to replace his memories of Chuck's kiss but wished he had not stopped dancing so soon. He wanted to remember the feeling of spinning on air above the old parquet floor. INT. NED’S APARTMENT - LIVING ROOM - DAY NED dusts. He stops at a VASE holding the daffodil. He sniffs then continues, careful not to touch the flower. NARRATOR It was now 18 years, 4 weeks, 3 days, 11 hours, and 5 minutes since Young Ned had been kissed by a shy young girl on a dance floor and his happy memories of her brought a small smile to his face. CHUCK steps up behind smiling Ned. CHUCK Watcha smiling at? Awkwardly spinning and stumbling, Ned turns to face Chuck.

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NED What? Hey? Oh, hi Chuck. Smiling? Um, nothing. CHUCK I love daffodils. They smell like spring. Chuck steps around Ned and smells the flower. CHUCK (CONT’D) But I never see you replace it. It's almost like (realizing) is it like me? NED No. Not exactly. You don't stand in water all the time, for one. CHUCK You know what I mean. NED I know what you mean. Yeah, it's like you. CHUCK What's its story? First flower you ever smelled? Sixth-grade biology project? Over-sized boutonnière from the prom? NARRATOR Ned wanted to tell Chuck about the dance, and the shy girl who kissed him, but he was afraid how she would take it. NED I want to tell you, but I'm afraid how you'll take it. CHUCK I'm a big girl, Ned. I was strangled at sea and thrown overboard. I think I can handle whatever this is. NED At school, in the spring. Every spring, actually. There was a dance.

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CHUCK A dance? I thought it was an allboys school. (teasing) Did some of you have to dress up like girls? Is that why you don't want to tell me about the flower? It's okay if that's what it is. You have very nice eyes. I bet you’d make a pretty girl. NED No, uh. That's not it at all. It was another school, our sister school. The girls came from our sister school and brought daffodils to celebrate spring. They'd walk up to a boy and hand him the flower if they wanted to dance. With him. CHUCK And some young girl wanted to dance with you. That makes sense, you were a cute little boy. I'd have wanted to dance with you. Why were you afraid to tell me? NED She might have kissed me, too. When we stopped dancing. CHUCK That happens to you a lot, doesn't it? What?

NED

CHUCK Girls kissing you. You should try kissing back sometime. Or initiating the kiss. Girls like that. So how was it? The kiss? NED It was nice. I ran away. CHUCK Girls don't like that, so much. You just left that poor girl standing on the dance floor? Why? NED I don't know.

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NARRATOR But the Pie Maker did know. He had run away from his dance partner out of fidelity to Chuck and her strawberry lips. A scene he would repeat many times over the years. CHUCK So have you been pining for her all these years? This girl you didn't want to kiss? Is that why you keep this flower? NED No. Not at all. He lied.

NARRATOR

INT. PIE HOLE - DAY Ned stands at the counter, Chuck waits on a table of TWO CUSTOMERS, and OLIVE aggressively polishes the espresso machine. The door swings open and EMERSON strides in. EMERSON I love springtime. NARRATOR Emerson Cod loved spring for many reasons. He loved the smell of cherry blossoms, he loved the return of short skirts, but mostly, he loved the increase in the murder rate. Emerson glides by the counter, grabs Ned, and brings him to a booth. Chuck slides next to Emerson before he can protest. EMERSON I've got us a live one. CHUCK A live one? Don't we usually handle dead ones? Ned laughs at Chuck's little joke. EMERSON Look here, dead girl. I put up with you, but I don't have to put up with your dumb jokes.

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NED So what's the case? EMERSON Man got shot. We've been hired by the widow to find by who. NED Doesn't she think the police will find who did it? EMERSON Police think she did it. EXT. FAIRGROUNDS - DAY - FLASHBACK ANNA ROBLE, a Wild West performer, stands on stage with guns in her hands. Her daughter, a YOUNG SHANNON ROBLE, is a copy in miniature with an apple on her head. Anna shoots the apple to rapturous applause. Off-stage, CEDRIC STUCKY watches. NARRATOR The facts of the case were these: Cedric Stucky met Anna Roble when she was an up-and-coming sharpshooter. Just starting out as a booking agent, Cedric had a keen eye for talent and a great head for negotiation. EXT. CHURCH - DAY - FLASHBACK Anna, Cedric, and Shannon pose on church steps. Anna glows in a wedding gown and hip holsters. Cedric beams in a tasteful tux. Shannon fidgets in her performing costume. NARRATOR Skills which served him well courting and eventually convincing the young performer to marry him. INT. ANNA’S HOUSE - FOYER - NIGHT - FLASHBACK Cedric opens the front door of the darkened house, carrying a BOWLING BAG. NARRATOR Their marriage was filled with love and bliss until two nights earlier when... Ho--

CEDRIC

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...a FLASH of a gun and Cedric hits the ground... NARRATOR ...it came to an abrupt and unscheduled conclusion. INT. MORGUE OFFICE - DAY Ned, Chuck, and Emerson stand before the CORONER. His office is filled with FLOWERS: LILIES, TULIPS, and DAFFODILS. NED Did someone die? CORONER Lots of people. You have someone particular in mind? NED I meant, all the flowers. I was wondering if someone close to you had died. CORONER No. Grow ‘em in my garden. Bring 'em here to brighten up the place. CHUCK You have quite the green thumb. CORONER Mnnn. You should see my zucchini when they come in. Size of a child's arm. CHUCK Do you compost, or use manure? Emerson holds out a wad of bills. EMERSON You two can discuss horticulture some other time. Right now, I’ve got a dead guy composting. Coroner takes the lucre. INT. MORGUE - DAY The threesome stand over the slab, the body still covered. Ned throws back the sheet and...Emerson gasps at the sight.

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NED What’s got you all bothered. We’ve seen worse. At least this one’s still in one piece. EMERSON It ain’t the stiff. It’s the shirt. Cedric lies cold and dead in a BRIGHT YELLOW BOWLING SHIRT. Ned gets ready with his WATCH as Emerson takes out a NOTEPAD. NED (On notepad) That’s new. EMERSON Figure it's easier to take notes during the minute they alive again than after. Chuck pulls a MINI-TAPE RECORDER from her purse. CHUCK I figure it's easier to take notes after. Emerson scowls...and puts away his notebook. Ned smiles at Chuck. Ned STARTS HIS WATCH. Chuck ostentatiously STARTS RECORDING. Ned reaches out and a SPARK brings Cedric back. CEDRIC --ney, I'm home! Oh. This isn't right. Am I dead? I'm dead, aren't I. NED I'm afraid so. CHUCK Do you have any last wishes, Mr. Stucky? Any messages you'd like delivered to your loved ones? EMERSON Maybe the man would just like justice. How about that? You want to tell us who offed you so we can make sure justice is served? CEDRIC Oh, hi there. Are you an avenging angel?

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EMERSON Something like that. So why don’t you tell me who killed you and I’ll rain fire on their head. CEDRIC I’m afraid I don’t know. NED You didn’t see who shot you? CEDRIC Nope. ‘Fraid not. The house was pitch black. Even the spot on the buffalo head was out. Ned and Chuck share a look at that odd bit of information. CEDRIC (CONT’D) I’d just come from dropping off Hector and-EMERSON --who’s Hector? CEDRIC My business partner. We’d been bowling. I dropped him off and came straight home. CHUCK (pointedly) You didn’t stop anywhere at all? Not even for a little snack? CEDRIC You caught me! I stopped for a donut. Can’t hide anything from an angel, I suppose. Ned and Emerson look shocked. Cedric tilts his head at Chuck. CEDRIC (CONT’D) Charlotte? Charlotte Charles? OFF CHUCK END OF ACT ONE

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ACT TWO INT. MORGUE - DAY The sleuths stand agape, staring at Cedric on the slab. CEDRIC Well I'll be. It is you, Charlotte. I'd recognize that little crinkle in your brow anytime. Just like your Aunt Lily when she gets a bee in her bonnet. EXT. POOL - DAY - FLASHBACK Cedric stands at the edge of a pool talking with VIVIAN CHARLES. Both look about 20 years younger. NARRATOR Cedric Stucky knew talent when he saw it, and the Darling Mermaid Darlings were once the most talented act around. Cedric booked them in all the best venues until the day they hung up their flippers for good. BACK TO: INT. MORGUE - DAY Emerson looks anxious as Chuck continues. CHUCK So you knew my aunts? Ned indicates his watch to Chuck. Time is running out. NED 12 seconds. CEDRIC What's he-CHUCK --never mind him. You knew my aunts? CEDRIC Booked them all over. But with Vivian it was-Emerson touches Cedric with Ned's hand: dead again.

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EXT. EMERSON’S CAR - DAY Emerson drives. Ned sits. Chuck steams in the back seat. CHUCK What were you-EMERSON --thinking I didn’t want to die. Some of us ain’t been dead yet and are looking to keep it that way. CHUCK (to Ned) What do you think Cedric was going to say about Vivian? NED I don’t know. EMERSON Sounds like our victim-CHUCK (to Ned) --could you please tell Emerson I’m not talking to him right now? Emerson...

NED

EMERSON I heard. Fine. Please tell dead girl it sounded like our victim and her aunt used to be an item. Chuck... I heard.

NED CHUCK

They drive quietly for a moment, Emerson beaming. NED How did you know Cedric had stopped on his way home? CHUCK He had powdered sugar on his shirt. My father used to sneak donuts sometimes, too. Ned smiles to himself.

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INT. PIE HOLE - DAY Scattered CUSTOMERS eat. Olive stands behind the counter. The super-sleuths enter. Olive rushes to Chuck and tugs on her sleeve. She's wired and talking even faster than usual. OLIVE You got a minute? Come on over and talk with me for a minute. You can get back to not touching Ned and not-not irritating Emerson in a bit. NARRATOR The normally effervescent Olive Snook practically overflowed with vim, like a bottle of carbonated sunshine that had been shaken vigorously by a child. EMERSON That's a great idea. Go talk to Olive. He gently pushes Chuck as Olive pulls, then guides Ned to a booth. Olive brings Chuck to the espresso machine and starts its brewer brewing. Espresso? I'm good.

OLIVE CHUCK

OLIVE You sure? I'm making myself one. CHUCK How many of those have you had today? OLIVE Oh, I don't know. Three or...seven. No, I think it's ten. Definitely. I've definitely had twelve. Olive pulls herself an espresso and slams it. OLIVE (CONT’D) Espresso? I'm making myself one. Chuck takes Olive's hands and leads her away from the glimmering, steaming monster and to a seat at the counter.

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CHUCK Olive! What's wrong with you? OLIVE You remember Alfredo? INT. PIE HOLE - KITCHEN - DAY - FLASHBACK Finishing up a pie, Chuck adds drops from a VIAL. NARRATOR Chuck remembered Alfredo Aldarisio well. The traveling seller of homeopathic supplements had given her the means to raise her aunts' spirits in their darkest hour. BACK TO: INT. PIE HOLE - DAY Sure.

CHUCK

OLIVE He fixed our espresso machine. Didn't much like our coffee. Thought if we were going to take the space up with a big old coffee making machine we should be making coffee with it. So he fixed it for us. For me. CHUCK I didn't know that. OLIVE And then he went away! Olive heads back toward the espresso machine. Chuck wraps her arms around Olive’s waist and picks her up. Olive flails like an upended turtle. NARRATOR Like a zombie, driven not by brains but caffeine, Olive Snook was drawn to the hot brown liquid that reminded her of Alfredo Aldarisio. CHUCK Olive, it's obvious you have feelings for him. She puts Olive down on her stool.

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OLIVE I know that. Don't you think I know that? But he doesn't know I know that. He doesn't, you know? I ignored him and ignored him and then he went away. And now I don't know what to do so I just make espresso all day. CHUCK That's got to stop. Olive, you have to promise me: no more espresso! Also no more rhyming, but mostly no more espresso. Can you promise me? OLIVE No more espresso. Olive gets up in a daze and starts walking toward the machine. Chuck gently turns her around and back to her seat. CHUCK Do you know where you were going? Just now? OLIVE I was going to make more espresso, wasn't I? Oh Chuck, I don't even realize when I'm doing it anymore. CHUCK That's okay. One step at a time. Here... Chuck reaches under the counter and comes up with a RUBBER BAND. She puts it around Olive's wrist. CHUCK (CONT’D) When the urge to make an espresso hits, just snap that. Olive SNAPS rubber band. Ouch!

OLIVE

CHUCK That’s the idea... Three more snaps. OLIVE Ouch! Ouch! Ouch!

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CHUCK Okay now, stop. Only snap it once, when the urge to have another espresso hits. OLIVE That’s what I did. CHUCK Oh. Well, see if that helps. INT. PIE HOLE - DAY Huddled at a booth, Emerson and Ned discuss the case. NED You think the partner killed him? EMERSON Could be. Could be the wife. Don't matter what I think. Matters what we can prove. The wife?

NED

EMERSON 90% of the time wife did it. Dead guy was no help, so now we've gotta talk to the widow and the partner. Job used to be easy: you touch the dead guy, I catch the killer, we get paid. Ever since dead girl's been back, it's been one problem after another. INT. PIE HOLE - KITCHEN - DAY Chuck works on a PIE. Olive watches. OLIVE So the dead guy knew Lily and Vivian. Right.

CHUCK

OLIVE But you think he knew Vivian. CHUCK I wouldn’t put it that way but, yeah, maybe.

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OLIVE And what am I doing again? You’re And if Vivian Cedric that.

CHUCK just delivering bad news. while you’re doing that happens to open up about Stucky, you could encourage

OLIVE Confession’s good for the soul. CHUCK I thought I knew everything about my aunts. I guess I just forgot they had a whole other life before me. Chuck adds a few extra drops of mood enhancer and lays on the top crust. She then slides the pie into the oven. EXT. EMERSON’S CAR - DAY Ned and Emerson get in Emerson's car. The sun is bright, the sky blue, and the top down. The car pulls out. EMERSON At least your girlfriend's not tagging along like usual. ANGLE ON CHUCK Who seems to have popped into the back seat from the ether. CHUCK Hi, Emerson. EMERSON Hey, Chuck. The car swerves as Emerson turns around suddenly. EMERSON (CONT’D) How did you...never mind. I don't want to know. NARRATOR The Pie Maker smiled to himself at Chuck's little surprise and Emerson's little discomfort. Then he turned and shared his smile with the girl who made his heart beat faster just by being near.

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INT. ANNA’S HOUSE - PARLOR - DAY Anna Roble, in cowgirl mourning black, ushers in the trio. Mementos of the road adorn the walls. A large BUFFALO HEAD, tastefully lit, dominates. Ned and Chuck note and smile. Anna sits and offers a settee. Ned and Emerson claim the ends but Emerson huffs and moves to the center on Chuck’s glare. ANNA Y’all sure I can't offer you nothing? Lemonade? Sweet tea? EMERSON (excited) Sweet tea? ANNA Why course, Mr. Cod. Just 'cause my world's collapsing all around me, don't mean I gotta succumb to the chaos. (calling O.S.) Shannon, sweetie? Could you please bring sweet tea and glasses for our guests? (back to guests) Now how can I help you? CHUCK Actually Mrs. Stucky-ANNA --Roble. I kept my name. CHUCK Sorry, Mrs. Roble. I was wondering if I could use your powder room. ANNA Up the stairs, second door on the right, sweetie. Chuck exits as SHANNON ROBLE, the spitting image of her mother, enters with a tray of drinks. INT. ANNA’S HOUSE - HALLWAY - DAY At the top of the stairs, Chuck turns right, then immediately spins around and goes left. NARRATOR Taking a powder, but not for herself, Chuck had snuck off to snoop. (MORE)

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NARRATOR (CONT'D) She didn’t know where she should look or what she might find, but hoped inspiration would tap on her shoulder.

Chuck grasps a doorknob. HECTOR SELVA, over-suave and slightly oily with an accent to match, taps her shoulder. HECTOR Can I help you? CHUCK (spinning) Oh! Hi there. I didn't hear you come up. I...uh...was just looking for the bathroom. HECTOR Then you have come the wrong way. It is at the other end of the hall. I am Hector, who are you? CHUCK (extending her hand) Chuck. HECTOR It is nice to meet you... (kissing her hand) Chuck. INT. ANNA’S HOUSE - PARLOR - DAY Shannon sits on a straight-backed chair near her mother. EMERSON ...and I assume you own this house. How large is the mortgage, if you don't mind my asking? ANNA Seems to me, Mr. Cod, you’re circlin’ around a question like a pack of coyotes circlin’ a wounded deer. Why’n’t you ask what you’re hintin’ at? You wanna know if I killed my husband. EMERSON Well did you?

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SHANNON (agitated) We’re paying you to find the real killer, not accuse my mother. NED Not accusing, no one’s accusing. Just asking. SHANNON She loved Cedric. She'd never do anything to hurt him. ANNA Shannon honey, Mr. Cod’s just doin’ his job. No cause to get yourself all riled. No, Mr. Cod. I sure didn’t kill Cedric. But mom--

SHANNON

ANNA --don’t “but” me, young lady. I know you’re upset. We all are. But that’s no reason to be rude to our guests. Why’n’t you go check on supper while I finish up here? Yes ma’am.

SHANNON

Shannon, chastened by her mother’s words, exits. ANNA You'll have to forgive my daughter. She's not copin’ real well. NED I think that's understandable. I know how I felt when I lost my mother. ANNA Cedric’s the only father she ever knew. All them years on the road, just the two of us. It was a might touchy early on, but them two grew thick as thieves. EXT. TRAILER PARK - DAY - FLASHBACK Anna pushes a STROLLER away from a decrepit trailer.

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NARRATOR Pregnant at 17, Anna Roble was a mother at 18. Determined to protect her daughter from her own fate, she left her past behind, trading a life of quiet desperation for cheering throngs and gunfire. EXT. PARADE GROUNDS - DAY - FLASHBACK Anna wears a garish costume and sports six-shooters. Toddler Shannon watches in an identical costume. NARRATOR For the first ten years of her life, Shannon Roble shared her mother with no one, packed houses notwithstanding. EXT. CHURCH - DAY - FLASHBACK The same wedding scene as earlier, now CLOSE ON Shannon. NARRATOR So it came as quite a shock to the young girl when Cedric Stucky complicated their country duet with his jazzy bass line. INT. ANNA’S HOUSE - PARLOR - FLASHBACK Cedric sits in a comfy chair, Shannon nestled on his lap halfasleep as he reads. NARRATOR It came as something more of a shock when she found herself as taken with him as her mother. BACK TO: INT. ANNA’S HOUSE - PARLOR - DAY Anna looks a might sadder. NED What about your husband’s partner? Were there any problems between the two of them? ANNA Hector? I’ve never cottoned much to him. He’s what my daddy liked to call a greedy grasper. (MORE)

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ANNA (CONT'D) Always lookin’ to lasso hisself a faster horse. But seems I’m the only one round here don’t like him. Cedric loved him like a son. And Shannon--

With a din, a CAPUCHIN MONKEY scampers in and jumps onto Emerson's lap. Shock gives way to glee as the monkey shakes Emerson’s hand. EMERSON Well, hello little fella! Nice to meet you too. Name's Emerson Cod. What's your handle? ANNA Oh my! I'm so sorry, Mr. Cod. Wild Billy's usually not so excited to meet new people. Here, let me get him. EMERSON No, no. It's alright. He's no trouble. NED Are you alright? I've never seen you look that way before. Except when we get paid, then you look just like that. Like you're happy. NARRATOR Emerson Cod was happy. As a young boy, he’d wanted nothing so much as a pet to call his own. Unfortunately, his sister proved allergic to all manner of fur and feather. EMERSON Had to settle for a cricket. Named him Jiminy. Kept my sister up at night with his chirping, so it was worth it. That's--

NED

EMERSON --not a word. (to Anna) You were saying about Hector and your daughter?

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ANNA They’re getting married. Met on her birthday last year. EXT. PARADE GROUNDS - NIGHT - FLASHBACK HECTOR SELVA stands on stage with a half-dozen dogs and a monkey. The monkey holds a hoop while a dog jumps through it. NARRATOR Hector Selva had first come to Cedric Stucky’s attention as part of Seis de Selva, a mariachi band composed of his parents, three older sisters, and Hector on the traditional vihuela. But it was in his later incarnation as Selva of the Jungle that Cedric grew to know the young man well. INT. ANNA’S HOUSE - PARLOR - NIGHT - FLASHBACK Shannon sits amid elaborately wrapped boxes, Wild Billy on her lap with a RIBBON around his neck, Hector beside her. NARRATOR When it occurred to Cedric to give his unconventional step-daughter an unconventional gift for her twentyfirst birthday, he immediately thought of Hector, and his trained capuchin monkeys. Shannon takes Hector’s hand. NARRATOR (CONT’D) He did not anticipate, but did not mind, that the young woman took to the trainer as much as the animal. INT. THEATER - BUSINESS OFFICE - DAY - FLASHBACK Cedric at his desk, Hector opposite. Hector signs a contract. NARRATOR The fact that Cedric himself had taken to the young man played no small part in that. BACK TO:

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INT. ANNA’S HOUSE - PARLOR - DAY ANNA I was a little surprised when Cedric cut Hector in on the theater. Not that it matters. Ten percent of nothin’ is still nothin’. Cedric poured all our savings into that damn pipe dream of his. And I’ll be lucky to save this house because of it. INT. ANNA’S HOUSE - CEDRIC’S OFFICE - DAY Chuck and Hector stand amidst a huge GUN COLLECTION. CHUCK That’s a lot of guns. HECTOR Do they make you uncomfortable? CHUCK No. My aunts had a whole drawer full of cheese knives. HECTOR It is still very strange. I did not even hold a gun until I was a man but Shannon was in the act at ten. ON EMPTY DISPLAY CASE CHUCK What goes in here? ON CHUCK AND HECTOR HECTOR (shocked) Anna’s very first gun. END OF ACT TWO

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ACT THREE INT. PIE HOLE - NIGHT Ned wipes the counter while a mortified Chuck turns over an empty BEAN HOPPER next to the espresso machine. Emerson enters and sits by Ned. Chuck quickly joins. EMERSON It's worse than we thought. CHUCK Worse than mortgaging their house and pouring all their savings into the renovation of a rundown theater? EMERSON Why she talking? Did I not just rush in here, presumably to discuss what I found out? I know they mortgaged their house. Did you also know the victim put up his life insurance policy to get another half million? Or that he used his wife's gun collection to secure fifty-thousand more? NED Did you talk to Hector? EMERSON I did, but he’s got an alibi. Car’s been in the shop all week and Stucky dropped him off before heading home, two miles away. Besides, he got his ten percent for nothing. The only one looking to lose was the widow. NARRATOR After 20 years of touring, Anna Roble was ready to holster her guns and leave the road behind. EXT. THEATER - DAY - FLASHBACK A rundown Beaux-Arts Theater on an otherwise thriving block. The day is sunny, but the theater gloomy. A few stray letters hang from the marquis. Anna and Cedric look on.

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NARRATOR Happy his wife would finally be home more, Cedric Stucky proposed to her a grand plan. Together they would buy and renovate the once beautiful Liberty Theater, restoring it to its former glory as a mecca for performers of all stripes. Riding on the crest of downtown renewal, Cedric was certain the plan would be embraced and supported by the city elders. EXT. THEATER - DAY - FLASHBACK Many men in HAZ-MAT suits move about the sidewalk. NARRATOR What he failed to consider was the cost of asbestos removal. EXT. THEATER - DAY - FLASHBACK The exterior is now pristine and vibrantly painted. The marquis reads: "Opening This Summer!" NARRATOR When the renovations stalled, Cedric cashed in all his family's remaining assets and risked everything on the future of the theater. But Cedric would not live to see the theater's grand reopening. BACK TO: INT. PIE HOLE - NIGHT Back at the counter Chuck looks lost in her own thoughts. CHUCK What kind of gun was he shot with? EMERSON Twenty-two caliber. Police never found it. CHUCK Is that a small gun? EMERSON It’s not big.

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CHUCK Small enough for a young girl to shoot? EMERSON Why you asking? CHUCK When Hector was showing me Anna’s gun collection, we noticed one was missing. He said it was the gun she had as a girl. EMERSON There a reason you didn't mention this sooner? CHUCK (unsure) I got distracted by the monkey? NED In Chuck's defense, the monkey was distracting. EMERSON I'm sorry. You must be confusing my happy-to-finally-hear-about-themurder-weapon face from my angrydead-girl-didn't-mention-it-sooner face. I'm happy to finally hear about the murder weapon. NED We should probably find that gun. EMERSON (snidely) You think? CHUCK Anna said she and Cedric shared an office at the theater, didn't she? Maybe we should poke around down there. NED It's late. No one's going to be there. CHUCK Which makes it the perfect time for poking.

27.

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28.

NED I hate poking. I'm not a poker. INT. AUNTS' HOUSE - NIGHT Olive sits on the couch next to Vivian. LILY CHARLES sits in a chair. Olive serves PIE. Lily eyes hers cautiously then takes a nibble. Vivian forks a large bite into her mouth. As soon as her mouth is full to bursting... OLIVE Cedric Stucky's dead. Shot. Dead. Vivian stops chewing and tries unsuccessfully to speak. LILY (warily) What makes you think we'd care about that? OLIVE Chu... (pretends to clear throat) Just remembered hearing his name around before. From your stories when the Darling Mermaid Darlings were touring. LILY I don't remember ever ment-It finally occurs to Vivian to swallow. VIVIAN --That must be it. He used to book us all through the Quad States. You remember, Lily. LILY Oh, I remember alright. OLIVE You're sure you don't have any coffee at all? Not even some instant? No.

LILY

VIVIAN You know what would go great with this pie? Gin. I'm going to get some.

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29.

Vivian starts to get up, but Lily instead hands over her HIP FLASK. Vivian takes a long drink, emptying it. VIVIAN (CONT’D) I'm going to get some more. Does anyone else want any? INT. THEATER - BACKSTAGE - NIGHT Ned, Chuck, and Stucky/A. Roble YELLOW SCARF to around. Emerson

Emerson lurk by a door that reads "C. Proprietors". Chuck has added a jaunty BRIGHT her outfit. There are some painting supplies crouches and gets busy with LOCK PICKS.

NED I've always meant to ask, where did you learn to do that, anyway? EMERSON Where'd you learn to bake, Pie Man? NED From my mother. EMERSON My mother doesn't bake. Emerson turns the knob and pushes the door open. INT. AUNTS' HOUSE - NIGHT There are signs of extensive drinking. Vivian is giddy, Olive calm, and Lily remains Lily. VIVIAN I used to write him all the time. Do you remember, Lily? LILY I do. (to Olive) Vivian used to write the most dreadful love letters to Stucky. Scented paper, flowery poetry. VIVIAN Cedric seemed to like them. OLIVE What happened between you two?

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30.

LILY I'll tell you what happened. After Charlotte's father died, that sniveling little man headed for the hills. He was a coward, plain and simple. VIVIAN That's not what happened at all. EXT. POOL - DAY - FLASHBACK Lily and Vivian poolside, smile and wave at the crowd. At a small table, Lily picks up a TOO-SHORT ROBE. Cedric comes up and surprises Vivian with a LUXURIOUS ROBE. NARRATOR Cedric Stucky had been booking the Darling Mermaid Darlings for almost a year before realizing his heart had plunged headlong in love. And though it came upon him slowly, he was anything but slow once the realization was realized. INT. DRESSING ROOM - DAY - FLASHBACK Lily and Vivian sit at dressing tables. Huge BOUQUETS OF FLOWERS block Vivian's mirror. No flowers block Lily's. NARRATOR A man skilled at negotiation and used to getting what he wanted, he pursued Vivian with great charm and overwhelming force. INT. RESTAURANT - NIGHT - FLASHBACK Vivian and Cedric canoodle over fondue. NARRATOR Like cubes of Gouda in a chafing dish, Vivian’s cool heart soon melted before the heat of the young man’s passion, so when he proposed... Cedric gets on one knee and holds a RING before Vivian. NARRATOR (CONT’D) ...she happily accepted. Cedric puts the ring on Vivian's finger and they embrace. Waiters and other patrons smile and politely applaud.

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31.

INT. AUNTS' HOUSE - NIGHT - FLASHBACK Vivian is red-eyed. Cedric tries to comfort her, but Vivian shakes him off and returns the engagement ring to Cedric. NARRATOR But when Chuck's father died, Vivian turned off the flames. She knew she was about to become mother to a sweet and lost little girl... Cedric shambles out the door and Vivian goes to the living room where Lily is drinking heavily. NARRATOR (CONT’D) ...as well as her not-so-sweet but equally lost sister. BACK TO: INT. AUNTS' HOUSE - NIGHT A single tear runs down Lily's cheek from beneath her patch. VIVIAN So you see, I couldn't do that to Cedric. He was such a sweet man. INT. THEATER - BUSINESS OFFICE - NIGHT Chuck looks through file cabinets. Emerson examines the contents of the desk. Ned flips through an APPOINTMENT BOOK. CHUCK I thought you said the victim got a loan for a half-million against his life insurance. I did.

EMERSON

CHUCK So what's this policy for a million dollars? Emerson bounds over and snatches the POLICY from Chuck. EMERSON This policy's only a week old. What day?

NED

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32.

EMERSON Wednesday. Why? NED Because there's an appointment in here for Thursday to meet with a trust attorney. CHUCK It doesn't look good for Anna, does it? NED I don't think so. What about you, Emerson? You find anything in the desk? EMERSON Just this receipt from the tailor. That ugly-ass bowling shirt was custom-made. Says it was a birthday present from the wife. You ask me, he shoulda shot her. Emerson drops the RECEIPT on the desk and takes the appointment book from Ned. He heads for the door. EMERSON (CONT’D) Let's go see the widow. Looks like we ain't getting paid. Again. INT. THEATER - BACKSTAGE - NIGHT As the fearless threesome walk to the exit a shot rings out! Emerson ducks. Ned and Chuck look at each other, confused. A second shot ricochets nearby and Emerson pulls them down. END OF ACT 3

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33.

ACT 4 INT. THEATER - BACKSTAGE - NIGHT The fearful threesome cower behind crates and painting supplies. A third shot strikes uncomfortably close. EMERSON Your scarf! It's like a damn beacon. Chuck throws the scarf over the crate she's hiding behind. Three quick shots are followed by clicking. Ned and Emerson share a confused look. Chuck goes to her scarf, shot through thrice. Wild Billy capers up with the missing .22 CALIBER. NARRATOR It seemed someone had trained Wild Billy to shoot anything the color of Chuck's scarf. A scarf the exact color of... NED ...Cedric's bowling shirt! What?

CHUCK

NED Cedric's bowling shirt. Your scarf is the exact color of Cedric's bowling shirt. EMERSON Guess that receipt is evidence of something other than a crime against fashion. Wild Billy spots Emerson and leaps up, dropping the gun. Emerson smiles as the monkey perches on his shoulder. INT. AUNTS' HOUSE - NIGHT Olive and the Aunts sit quiet and melancholy. OLIVE Did you know right away? VIVIAN Oh, heavens no. I was resistant at first, then I just thought it was sweet, the attention he paid me. I didn't realize I'd fallen in love for a long time.

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34.

OLIVE No, I mean...did you know right away he was interested? VIVIAN Sure. How couldn't I? LILY Bull. Stucky was coming on to you for months before you noticed. You were too busy mooning over Hans Maschler. VIVIAN But Hans was in love with that nice bearded lady, Louise. LILY That didn't stop you from acting like a schoolgirl whenever he was near. It's a wonder Stucky ever got your attention long enough for you to notice he existed. Olive surreptitiously snaps the rubber band around her wrist. She un-surreptitiously cries out in pain. LILY (CONT’D) What's wrong with you? Nothing.

OLIVE

INT. NED'S CAR - NIGHT Ned drives, Chuck up front. In back, Emerson tickles Wild Billy. NED Shouldn't we go to the police? EMERSON Woman tried to kill me. Got a few things to get off my chest first, if you don't mind. CHUCK So what's your plan? We just march in and accuse her of killing her husband to kill his dream? EMERSON You got a better one?

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35.

INT. AUNTS' HOUSE - NIGHT Lily and Vivian sit side-by-side and alone in the dark. NARRATOR The mood-altering effects of Chuck’s mood-enhancing pie worn off, the woman who did not marry Cedric Stucky and the sister who felt responsible both stared blankly ahead. LILY I...didn't know. I'm-Vivian cuts her off with a small shake of her head. They sit quietly, then Vivian takes Lily's hand. INT. ANNA'S HOUSE - PARLOR - NIGHT As before, Ned, Chuck, and Emerson sit on the couch with Anna opposite. Chuck rises and crosses to Anna. CHUCK In my family we had a tradition that when someone died, we should wear a small bit of color to remember the joy they brought us in life... Chuck pulls the scarf from its hiding place and dramatically drapes it over Anna's shoulders. CHUCK (CONT’D) ...so I hope you'll accept this token from me-EMERSON --from all of us. CHUCK From all of us. ANNA Why that's real sweet of y’all. It's beautiful. Reminds me of the wild marigolds used to pop up every spring growing up. Anna dabs at her moist eyes with the scarf. EMERSON I have something else for you. Left it in the car. Won't be a minute.

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36.

Emerson exits. NED Where did you grow up? ANNA Tucson. Well, about fifty miles out of Tucson. Daddy was a ranch hand. Momma left when I was born. Weren't much to do but ride and shoot, and I did a lot of both. Daddy gave me my first gun when I was five. Same gun his daddy gave him. I shot more rattlers with that pea shooter than you can shake a stick at. NED I don't think I could shake a stick at a rattler. Probably just throw the stick and run the other way, hoping I can run faster than he can crawl. Slither. Do snakes slither or slink? ANNA We had sidewinders. They don't slither nor slink. And you can't run faster than 'em, neither. NED I think I’ll just be avoiding the snakes and the sticks and the desert entirely then. Emerson returns with Wild Billy. In the monkey's hand: the murder weapon. Anna reaches out to take him. ANNA Come here, you! Wild Billy jumps to Anna's lap, repeatedly pulling the empty gun’s trigger. She puts the gun aside and pets Wild Billy. ANNA (CONT’D) Hellfire, man! What are you lettin’ that monkey hop about with a gun for? Ain’t you got the sense the Good Lord gave you? EMERSON I thought he was trained.

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ANNA Just ‘cause a mule’s trained to sit you don’t bring him to tea with the Queen. ON EMERSON Speechless. ANNA (CONT’D) There, there Billy. No one’s mad at you, partner. (to Emerson) Sorry I tore into you like a wildcat in heat, but I take gun safety awful serious. I been lookin’ for this piece. Where’d you find it, Mr. Cod? Emerson is puzzled, but goes on the offensive. EMERSON Are you going to sit there and claim to know nothing about that gun? And the monkey you sent to do your dirty work? ANNA What's he on about? NED The monkey tried to kill us. It saw Chuck's yellow scarf-EMERSON --the same color as your dead husband's bowling shirt-NED --and started shooting at us while we were at the theater. ANNA The theater's closed. What were y’all doin’ down there? EMERSON Looking for evidence that you killed your husband. Evidence like a monkey who shoots ugly yellow things and a receipt for an ugly yellow thing.

37.

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38.

CHUCK Mrs. Roble, we know your husband put your life savings into the theater. You were going to be penniless and forced back on the road. No one would blame you for worrying about that. NED No, not for worrying, no. Killing, maybe, that might be frowned on, but not worrying. Did you? I mean, kill, not worry? ANNA I loved my husband! Mr. Cod, I'm paying good money to find my husband’s killer and you're blaming me? EMERSON About that, with all your money tied up in the renovations, how were you going to afford my fee? Emerson whips out the million dollar life insurance policy. EMERSON (CONT’D) With the new life insurance policy you took out on your husband before your monkey took him out? ANNA Cedric and I wanted to make sure there'd be money for Shannon in case anything happened to us. 'Cause we'd already borrowed against the old policy. CHUCK What about the meeting with the estate lawyer? ANNA Cedric scheduled that so we could update our wills. Shannon's old enough, so we wanted to make her the executor for the estate. Executor? Is that right? What's the one for gals? NED Executress?

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Executrix.

39.

CHUCK

Ned gives Chuck a little smile... NARRATOR The Pie Maker gave Chuck a little smile, just for knowing the right suffix to use. ANNA Executrix. Plus, we was givin’ Shannon forty percent of the theater. CHUCK Forty percent? ANNA Yeah. It was our legacy to her. Forty percent of a money pit. CHUCK And with Hector’s ten percent-EMERSON --he’d have control of the theater. NARRATOR Emerson Cod’s mood had been shifting erratically since his furry little friend had tried to kill him, but now it settled on a point midway between contentment and anticipation. He was content that he could soon anticipate payment. Hector enters from behind Anna. EMERSON Why, hello! Glad you could join us Mr. Selva. HECTOR You certainly seem in good spirits, Mr. Cod. Have you made progress? EMERSON Why yes. Yes I have. Hector comes around and sees Wild Billy. He gives the monkey an affectionate scratch on the head.

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40.

HECTOR Hello little one. NED (to Chuck) He doesn’t seem very concerned about the scarf. Shannon enters and immediately surveys the scene. She blanches and snatches the monkey and .22 before running out. CHUCK I guess he didn’t need to be. ON ANNA’S SHOCKED EXPRESSION -END OF ACT 4

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ACT 5 INT. ANNA'S HOUSE - PARLOR - NIGHT A moment of stillness... NARRATOR Like the calm that settles over a town after a tornado has ripped through, everyone sat in stunned silence. ...followed by chaos. NARRATOR (CONT’D) Immediately followed by the lack of calm of the tornado ripping through. The Pie Maker and Chuck were careful not to touch each other, but every other combination of person bumping person occurred until order was restored. Everyone sits. HECTOR What was that? EMERSON (to Anna) Where would she go? ANNA I don't know. I'm just so...I can't believe she would... HECTOR She would what? What is going on here? CHUCK Mr. Selva, I think your fiancee killed her father. HECTOR But she loved Cedric. Why would she kill him? EMERSON I don’t know. I thought you had done it. CHUCK She'd need money, wouldn't she?

41.

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42.

NED There was a safe in the theater office. Is there anything valuable in it, Mrs. Roble? ANNA Cedric always kept a few thousand dollars cash in there, for the building inspectors. NED Does your daughter know the combination? ANNA Cedric set the combo to our birthdays. Me, him, and Shannon. He was a sentimental old fool. Let's go.

EMERSON

ANNA Don't hurt her, Mr. Cod! INT. NED'S CAR - NIGHT Emerson sits shotgun this time and Chuck looks on from the backseat as he makes sure his gun is loaded. CHUCK I thought you liked Wild Billy? EMERSON Like him fine when he ain’t shooting at me. I ain't getting shot by no ape. NED He's a monkey, actually. EMERSON Fine. Monkey. I ain't getting shot by no monkey. And in case it was in doubt, I ain’t getting shot by no dog, cat, raccoon, or dolphin either. INT. THEATER - BACKSTAGE - NIGHT Our three heroes huddle just inside. Floors creak and Wild Billy screeches. Emerson holds his gun, Ned holds a CROWBAR. They start creeping away from the door, but Ned stops Chuck.

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43.

NED I think I'd like it better if you stayed back here where it's safe. Safer, anyway. I've already seen you dead once and it's not something I want to see again. Not that you didn't look nice dead, it was just the being dead part I didn't like. I can't bring you back again and I definitely don't want to lose you again. CHUCK That's sweet, but I don't want to see you dead, either. Why shouldn't you stay back while I go ahead? You might not be able to un-dead me again, but I don't think you can undead yourself. Emerson turns back and stage whispers EMERSON I don't want to see me dead, either. So why don’t two lovebirds stop cooing? NED Please? You can watch the door and make sure she doesn't double back. CHUCK Okay. Fine. But be careful. (louder) You too, Emerson. EMERSON (Under his breath) “You too, Emerson.” What part of stealth don't these people get? Emerson waves Ned left while he goes right. Chuck crouches in shadow for a second, then steps to the side and bumps against scaffolding. She looks at the ladder leading up and smiles. INT. THEATER - BACKSTAGE - NIGHT - CONTINUOUS ON EMERSON Emerson walks, pressed tight against the wall. Shadows of the monkey and Shannon tower, their guns the size of cannon.

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44.

ON NED Ned inches, gripping the crowbar. He hears a creak and spins: nothing. Turning back, he kicks a pail, making a racket. ON EMERSON Emerson turns around slowly and backs into a stepladder, knocking it over with a clatter. ON NED AND EMERSON Ned and Emerson back toward each other, each unaware of the other. They bump, jump, and spin midair, weapons ready. NED It's you. I thought-ON SHANNON She's got the drop on Ned and Emerson. SHANNON --You thought it was me? I'm hurt, Pie Man. I'm much skinnier than Mr. Cod. No offense intended, Mr. Cod. EMERSON (smiling, appeasing) None taken. SHANNON You might want to put those down. Emerson carefully lays down his gun. Ned drops his crowbar and startles himself with the volume. SHANNON (CONT’D) Thanks. I don't really like guns. Not in other people's hands. END OF ACT 5

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45.

ACT 6 INT. THEATER - BACKSTAGE - NIGHT Ned and Emerson stand shoulder-to-shoulder staring down the barrel of Shannon's COMICALLY LONG REVOLVER. Wild Billy hovers a few steps behind her with his little .22. NARRATOR Emerson Cod made some quick calculations. Shannon Roble's fortyfour plus the monkey's twenty-two equaled sixty-six ways this could end badly. Even without any yellow a color the private investigator astutely avoided as it clashed with his autumn tones - Wild Billy was still trained to shoot. While trying to decide on the best way to stall for time... NED Why did you do it, Shannon? Why did you shoot your father? SHANNON Step-father. Fine, you want to know why, I'll tell you. EXT. CHURCH - DAY - FLASHBACK On the church steps for the picture, CLOSE ON Young Shannon. NARRATOR Shannon Roble warmed slowly to the young man who had won her mother's heart. EXT. ANNA'S HOUSE - DAY - FLASHBACK Young Shannon, Anna, and Cedric stand in front in the same formation as the prior scene. A flash goes off and we... ANGLE ON WOMAN A REALTOR in a PURPLE BLAZER takes a picture. Next to her is a "For Sale" sign emblazoned with a picture of herself, atop which sits a smaller "SOLD!" sign. NARRATOR But she soon grew to love him and appreciate the stability he brought to their little family.

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46.

EXT. THEATER - DAY - FLASHBACK Shannon, Anna, and Cedric in front, the same formation. A flash and we... ANGLE ON WOMAN The same realtor takes a picture. She stands next to another "For Sale" sign with a "SOLD!" appendage. NARRATOR When Cedric Stucky first proposed restoring the Liberty Theater, the younger Sharp Shooter supported the plan. INT. THEATER - BUSINESS OFFICE - DAY - FLASHBACK Cedric at his desk. Shannon plays with Wild Billy in the corner. A MAN with a CLIPBOARD stands by the desk. Cedric signs a check with a flourish and hands it over. NARRATOR But as the renovations used up more of the family's savings, Shannon Roble became convinced her mother's future was being mortgaged away to support her step-father's dreams. INT. ANNA'S HOUSE - CEDRIC'S OFFICE - NIGHT - FLASHBACK Shannon pries open a locked desk drawer. NARRATOR Looking for anything to support her argument that Cedric was bankrupting her family, she found something else entirely. Shannon holds a packet of ribbon-wrapped letters. NARRATOR (CONT’D) Beneath a box of old buttons, she found love letters from a woman known only as “V”. Shannon opens one of the DELICATE ENVELOPES.

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47.

NARRATOR (CONT’D) Convinced her step-father was stepping out, she put aside her feelings for Cedric and began devising her plan. BACK TO: INT. THEATER - BACKSTAGE - NIGHT SHANNON When my mother told me what she was giving Cedric for his birthday, I knew what I had to do. INT. THEATER - STAGE - NIGHT - FLASHBACK Shannon stands on stage with the monkey's lead in her hand. NARRATOR Using the training techniques she had learned from Hector, Shannon Roble trained Wild Billy to respond in one way and one way only to the color yellow, the exact color of Cedric Stucky's custom bowling shirt. She rolls a BRIGHT YELLOW BALL in front of him and he shoots it, deflating it. BACK TO: INT. THEATER - BACKSTAGE - NIGHT SHANNON I don't know who this "V" is, but the hussy was making plans to marry Cedric. First he takes all my mother's money, then he runs off with someone else? ON ANNA AND HECTOR ANNA What did I teach you about pointin’ guns at people?! SHANNON Mom! When did you--

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48.

ANNA --Just now. And not a moment too soon, neither. Now put down that gun before you hurt someone. NED I think that’s a great idea. You should listen to your mother. SHANNON (to Ned) Shut up! We look down from Chuck’s perspective on the scaffolding above. She holds a pail over the gunwoman and gunmonkey. ANNA Don’t be rude, young lady. Now, I told you put down that there gun and I meant it. SHANNON No! I did what I did for you, and I’m not going to jail for it. Shannon spins. Chuck drops the pail behind Shannon. BRIGHT YELLOW PAINT splashes her backside. Wild Billy fires, hitting Shannon's bum. She yelps, drops her gun, and hits the ground. ANNA For me? You killed the love of my life for me? SHANNON (through the pain) He was cheating on you! ANNA Who with, “V”? Them letters is 20 years old, you fool girl. Man had a life before me. They’s part of that life. Cedric weren’t leavin’ me for Vivian Charles. That didn’t mean he didn’t still have a right to his feelings. Ned kicks Shannon’s gun away from her and Emerson disarms Wild Billy. Ned and Chuck smile and wave at each other. CHUCK I didn't wait by the door. Thanks.

NED

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49.

INT. PIE HOLE - DAY Ned and Chuck at the counter. Olive walks by the espresso machine and slows. When she’s past it, she snaps! her rubber band and speeds up. Emerson enters wearing a HAND-KNIT VEST, Wild Billy on his shoulder in a matching HAND-KNIT VEST. NED Hey, Emerson. What did the police have to say? EMERSON They're not charging the monkey, but he’s gonna be a material witness at trial. After that he's gonna spend some time with an animal trainer getting deprogrammed so he don't shoot every time he sees yellow. Then they're finding him a good home. NED And what are you two doing today? EMERSON Taking him to the zoo. Thought he'd like that. NED (smiling) I'll bet he does. Emerson turns and leaves. Chuck comes up to Ned. CHUCK We're going out, too. Where?

NED

CHUCK You'll see. NED You know I don't like surprises. Chuck beams at Ned. NED (CONT’D) But I like you. Olive? We're heading out for a while. Are you okay by yourself?

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50.

OLIVE What? Oh, sure boss. Olive gives herself another snap! of the rubber band. EXT. ANNA'S HOUSE - DAY Lily and Vivian walk to the front door and knock tentatively. NARRATOR Having temporarily freed themselves from their self-imposed prison, Lily and Vivian Charles came to pay their respects to the widow Roble. The door opens and Anna recognizes the women. She hugs both tight. They show discomfort but lightly hug back. INT. NED'S CAR - DAY Across the street, Chuck watches. CHUCK Aunt Vivian called off the engagement because of me. NED I thought Olive said it was because your father died. That makes it because of me, I think. CHUCK I wonder what else my aunts missed out on because I was around. NED Your aunts loved you. Whatever they might have missed was made up by what they had. Chuck squeezes Ned’s hand through the RUBBER INCUBATOR GLOVE. Through the front window, we see Anna hand Vivian the packet of letters. This time Vivian initiates the embrace. CHUCK We can go now. Thanks. EXT. PIE HOLE - NIGHT Olive locks up. Through the front window, we see her head toward the espresso machine. She snaps! her rubber band once and picks up a cloth. On the sidewalk, ALFREDO ALDARISIO watches. He SINGS, quietly and A CAPELLA at first.

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51.

ALFREDO (sings) I'M LYING ALONE WITH MY HEAD ON THE PHONE, THINKING OF YOU TILL IT HURTS. Olive, at the espresso machine, looks down at her rubber band. She plucks it and it breaks. She deflates. ALFREDO (CONT’D) I KNOW YOU HURT TOO BUT WHAT ELSE CAN WE DO, TORMENTED AND TORN APART. Olive picks herself up and begins to lovingly wipe the machine. MUSIC UP slowly. ALFREDO (CONT’D) I WISH I COULD CARRY YOUR SMILE IN MY HEART, FOR TIMES WHEN MY LIFE FEELS SO LOW. IT WOULD MAKE ME BELIEVE WHAT TOMORROW COULD BRING, WHEN TODAY DOESN'T REALLY KNOW, DOESN'T REALLY KNOW. INT. AUNTS' HOUSE - NIGHT Sitting alone, Vivian takes the packet of letters from a side table and unties the ribbon. She opens the first envelope and begins to read. MUSIC UP full. ALFREDO (V.O.) (going BIG) I'M ALL OUT OF LOVE, I'M SO LOST WITHOUT YOU, I KNOW YOU WERE RIGHT BELIEVING FOR SO LONG Vivian hugs the letter tight and smiles so widely she cries. ALFREDO (V.O.) (CONT’D) I'M ALL OUT OF LOVE, WHAT AM I WITHOUT YOU, I CAN'T BE TOO LATE TO SAY THAT I WAS SO WRONG. INT. NED'S APARTMENT - LIVING ROOM - NIGHT Ned reads, Digby nearby. Chuck enters and flips a switch, turning off all lights but a small spot on the daffodil. She extends her hand, wearing a YELLOW DISHWASHING GLOVE.

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52.

ALFREDO (V.O.) I WANT YOU TO COME BACK AND CARRY ME HOME, AWAY FROM THIS LONG LONELY NIGHT, I'M REACHING FOR YOU, ARE YOU FEELING IT TOO, DOES THE FEELING SEEM OH SO RIGHT. Ned takes her hand and smiles. She leads him over in front of the flower and they begin a very chaste, slow dance. ALFREDO (V.O.) (CONT’D) AND WHAT WOULD YOU SAY IF I CALLED ON YOU NOW, AND SAID THAT I CAN'T HOLD ON, THERE'S NO EASY WAY, IT GETS HARDER EACH DAY, PLEASE LOVE ME OR I'LL BE GONE, I'LL BE GONE. EXT. PIE HOLE - NIGHT Olive shuts off the last light and grabs her purse. Alfredo turns and slowly walks away. The MUSIC ends and as he walks off he SINGS his final lines softly and A CAPELLA. ALFREDO I'M ALL OUT OF LOVE, I'M SO LOST WITHOUT YOU, I KNOW YOU WERE RIGHT BELIEVING FOR SO LONG, I'M ALL OUT OF LOVE, WHAT AM I WITHOUT YOU, I CAN'T BE TOO LATE TO SAY THAT I WAS SO WRONG. Olive leaves and locks the door behind her. She looks toward Alfredo's direction quizzically, but turns and walks the other way. Alfredo WHISTLES off. FADE OUT. END OF SHOW