GOAL TO GO

Episode 1.11

“Blue Chips”

by David Polk
 2.

RECAP

We Recap events from Previous Episodes, ending on Cake

aiming a Glock at Sonny’s head.

TEASER

FADE IN:

EXT. CITY STREETS – NIGHT (FLASHBACK)

Achilles (17) and Portia (16) walk down the street arm in
arm. They’ve just left the movie theater. It’s cold
enough that we can see their breath hang in the air when
they talk.

PORTIA
You promise?

ACHILLES
Yeah, I promise. I won’t go to Miami.
When we get back, we’ll go over all the
schools that offered me a scholarship
and we’ll pick the one with the best
academics...and football program.

PORTIA
(smiling)
Good. That’s what’s best, Lee, I know
it.

They kiss and walk along. As they cross into a dark street
we should recognize this as the scene of Achilles recurring
nightmare.

ACHILLES
I’ll probably flunk out after one
semester anyway.

PORTIA
Stop it. Notre Dame, USC and Michigan
don’t lower their standards just for
athletes, Lee. And you got accepted at
those schools. Which means you have
what it takes academically.

ACHILLES
I know. I’m just joking with you,
Baby.

She gives him her beautiful smile, elbows him playfully.

 3.

MARCUS (O.S.)
Ain’t you two just a pretty picture.

MARCUS (16), tall, solidly built and wearing a diamond stud

in each ear, is high on who knows what. And he’s very
pissed off. He steps out of the shadows, blocks their
path.

PORTIA
Markie, what are you doing here?

MARCUS
What, now I can’t be on the same street
with you and Mr. All America?

ACHILLES
Look, man, nobody’s looking for a hard
time here so...

MARCUS
You think I give a fuck what you’re
looking for, All-Star?

PORTIA
Markie, please.

MARCUS
What? What’s that? Oh, all of sudden
you’re talking to me now? Seems like
ever since you and Joe College here
started bumpin’ it you aint’ had the
time of day for me.

PORTIA
Markie, I’m sorry if I hurt you. I
really am. But what happened between
you and me, that doesn’t have anything
to do with Achilles.

MARCUS
Bullshit, Portia! It has everything to
do with him. You put me down to be
with him!

PORTIA
That’s not true and you know it. We
started coming apart before Achilles
ever came into the picture. And it’s
because you changed, Markie. You
changed so much.
 4.

MARCUS
How did I change, huh? I didn’t keep
up in class? I didn’t become a big
jock like this frontin’ fool?

Achilles reacts. Portia holds him back.

PORTIA
That’s not what I mean and you know it.
Look at you, Markie. Drugs. Gang
banging. All of it. That’s not the
Markie I grew up with. That’s not the
Markie I used to love.

ACHILLES
You don’t have to explain anything to
him, Portia.

MARCUS
(tears welling up)
Shut the fuck up asshole!

ACHILLES
Man, screw you! Nobody’s scared of
you!

PORTIA
Lee, don’t!

Marcus pulls out a GLOCK .9mm automatic and points it at

Achilles. Achilles and Portia react.

MARCUS
Oh, you’re not such a big man on campus
now are you?

Portia steps in front of Achilles.

PORTIA
Markie, put that away! I mean it!

ACHILLES
(grabs her arm)
Portia, don’t.

MARCUS
Used to love? I remember that day at
the beach when we were kids. You said
I would be first in your heart forever.
First in your heart, P. You know how
(MORE)
 5.

fucked up that sounds to me now? After

everything I’ve done for you?
Everything I gave you?

PORTIA
I don’t want jewelry and clothes you
buy with money you got from dealing
heroine, Marcus. I know that’s what
you’ve been doing.

MARCUS
(points the gun)
But you want it if you can get it from
this fucker over here!

PORTIA
(steps in front of Achilles)
Marcus no!

Seeing her defend Achilles sends him into a drug-rage.

MARCUS
Fucking two-faced bitch!

He hits Portia hard with the Glock. She flies backward to

the ground. Achilles charges, tackles him. They go at it
on the ground. As they struggle, the Glock pops out.
Marcus kicks Achilles off of him, gets to his feet.

MARCUS
You’re both dead! Hear me? Dead!

He reaches around, pulls another GUN, aims it at Achilles.

Portia gets to her knees, dazed, bleeding at the mouth.

PORTIA
Markie, no, don’t!

Marcus turns the gun on her, his face is contorted with

anguish.

MARCUS
Why Portia?! Why?! I loved you!

Achilles has picked up the Glock and trains it on Marcus.

PORTIA
(to Achilles)
No! Noooo!
 6.

Achilles FIRES, hitting Marcus in the chest. He’s dead

before he hits the ground. Portia rushes to Marcus, falls
to her knees and cradles his head.

PORTIA
(crying)
Markie! No! No! Markie! I’m sorry!
I’m sorry!

CLOSE ON Achilles’ face, in shock.

END TEASER

ACT ONE

EXT. WALKUP APARTMENT BUILDING – NIGHT (PRESENT)

CLOSE ON Cake, her face taught, eyes hard. Inhuman. PULL

BACK and we see she’s holding the Glock at eye level, the
barrel still smoking.

SONNY (O.S.)
Owww! FUCK!

REVERSE ANGLE to see Sonny clutching his ear – or what’s

left of it – blood spurting from his fingers.

SONNY
You shot me! You fucking shot me!

He’s crying in agony. Cake lowers the gun, turns and walks
across the street to her Porsche.

INT. PORSCHE – NIGHT

Cake throws the Glock on the floor, starts the engine and
starts crying her eyes out.

EXT. PORSCHE – MOVING – NIGHT

The car races through Maitland, narrowly avoiding

collisions with other vehicles. It zips through an
intersection and a POLICE CRUISER takes up chase.

Cake, eyes red with tears, looks into the rearview mirror,
sees the flashing red and white lights of the cruiser. She
pulls over.
 7.

INT. POLICE CRUISER – NIGHT

The POLICE OFFICER runs Cake’s license plates on his in-car

COMPUTER. The Porsche is registered to D’Agostino Motors.
He opens the door.

EXT. STREET – NIGHT

The officer walks to the Porsche, his hand resting on his

holstered pistol. He comes along side, sees Cake inside,
relaxes. Cake rolls down the window, looks up at him.

POLICE OFFICER
You okay, Miss D’Agostino?

DISSOLVE TO:

EXT. DONAHUE HOME (CONSTRUCTION SITE) – DAY

TWO-DOZEN construction workers – with heavy equipment and a

cement truck - are hard at work. We find Darryl Banks near
the house overseeing construction of Rose Ryan’s cottage.
He reads the blueprints and gives instructions to a WORKER
at his side.

DARRYL
Make it a 50 instead and pull in
Gelson’s gang from West Dempster if you
have to. We need that foundation ready
to take a load by Wednesday, no
excuses.

WORKER
But, Boss...

DARRYL
Just do it.

Mathilda Weiss comes out of the house and walks over to

Darryl.

DARRYL
‘Morning Miss Weiss.

MATHILDA
Hello, Darryl.

MATHILDA
How is it coming today?
 8.

DARRYL
It’s coming. She opens a THERMOS,
pours steaming hot coffee into a
STYROFOAM CUP, hands it to him.

DARRYL
(pleasantly surprised)
Thank you.
(takes a sip)
Mmmm, that’s good. You make a good cup
of java, Miss Weiss.

MATHILDA
Thank you, Darryl.

He looks at her admiringly.

DARRYL
Seems like you and me just keep getting
these near impossible assignments from
Mrs. D, huh?

MATHILDA
She’s very confident in your ability to
come through, Darryl. As am I. You’re
very reliable.

DARRYL
(smiling)
I guess we make a good team, you and
me.
(off her small smile)
Look, Miss Weiss – do you mind if I
call you Mattie? Mattie, um, I was sort
of wondering. I know Mrs. D keeps you
pretty busy and all, but, well, not
meaning to seem overly forward, but I
was wondering if maybe you’d like to
have a cup of coffee with me one of
these day... or lunch or something like
that.

MATHILDA
Darryl, I’m afraid that is out of the
question.

Darryl tries to cover his disappointment with a sip of

coffee.

DARRYL
Sure, of course. I understand. You
can’t get mixed up with the help.
 9.

Mathilda realizes that she’s hurt him.

MATHILDA
Oh, Darryl, no. I’m sorry if that
didn’t come out right. I am flattered,
really I am. It’s just, well, I’m
seeing someone. I have been for some
time now.

DARRYL
Oh. That makes sense. Smart, nice
looking woman like you. It’s just I got
the impression from Mrs. D that you
were, well, single and pretty
available.

MATHILDA
She said that? I’m available?

DARRYL
Well, not in so many words, but...

INT. MASTER BATHROOM – DAY

O.S. we hear a woman tossing her cookies. ANGLE ON the

mirror. Gale appears in front of it. She looks like she
just got hit with a wicked case of food poisoning.

INT. DONAHUE BREAKFAST ROOM – DAY

Billy, J.R. and Rose are finishing breakfast. Gale comes

in.

BILLY
Sleeping in today?

ROSE
Good morning, Dear.

GALE
(kissing her)
Good morning, Mom.

She brushes J.R.’s shoulder affectionately as she sits.

J.R.
(chewing bacon)
Hey, Mom.
 10.

BILLY
You all right? You look a bit pale.

ROSE
Billy’s right, Dear. Are you feeling
under the weather today? I heard on
the news that there’s something going
around.

GALE
I’m fine. Just a restless night.

J.R.
With all that construction noise going
on I’m surprised we’re not all waking
up with a headache. What time do they
start anyway?

Gale turns nauseous. She stands and leaves the room.

INT. HALLWAY (OUTSIDE POWDER ROOM) – DAY

Billy talks through the door.

BILLY
Gale, Babe. Do you need anything?

GALE (O.S.)
No. I’m fine.

BILLY
Are you sure?

We hear the sound of running water. The door opens and she
steps out.

GALE
I said I’m fine, Billy. What time did
you get in last night?

BILLY
Late. After 1. Flight was delayed for
over two hours.

GALE
What for?

BILLY
I don’t know, weather I think.
 11.

GALE
Weather’s been fine along the West
Coast all week.

BILLY
Maybe it was mechanical. It was so
late and I was so tired I didn’t pay
much attention.

She looks at him for a beat, walks past him and down the
hall.

INT. ACHILLES’ BEDROOM – DAY

We’re looking down from the ceiling at Achilles, who is

lying on the bed. A cell phone RINGS. He ignores it.

BECKY (O.S.)
(sleepily)
Will you just answer it?

WIDER ANGLE to show Becky in bed next to Achilles.

ACHILLES
I know who it is.

BECKY
So do I, and she’s going to keep
calling. If you’d answer maybe I could
go back to sleep.

The phone stops. He looks at her. She sighs, turns over.

He stares at the ceiling again. The phone RINGS.

BECKY
Ahhhhh!

She climbs over him, reaches for the phone on the

nightstand.

ACHILLES
Hey! What the – what are you doing?

Before he can stop her Becky grabs the phone, flips it open
and holds it in front of him. When he takes it, she rolls
over, pulls the sheets up to her head. He puts the phone
to his ear.

PORTIA (V.O.)
Lee? Hello, Lee?
 12.

INT. D’AGOSTINO FAMILY ROOM – DAY

SAL D’AGOSTINO (40), a dark, intense bull of a man, looks

every bit the chief of police in his crisp uniform, shiny
badge and insignia. He’s standing in the center of the
room, hands on hips, demanding answers from Cake and Sonny.

SAL
Look, Cake, the only reason you’re not
in lockup right now is because this is
a family matter.

He looks at Sonny, who has a fresh WHITE BANDAGE covering

the left side of his face.

SAL
And the only reason you’re sitting here
is because your cousin is a terrible
shot. I need answers from both of you,
now!

Cake stares straight ahead. Sonny stares at the carpet.

Also seated around the room are Cake’s parents, Sofia and
Tony, and Sonny’s parents, Santino and MARGOT (42).

MARGOT
Sonny, you’d better start talking or I
swear on your grandmother’s grave I’ll
slap the other ear off of your head.

SANTINO
Calm down, Margot. We’re not going to
get anywhere by threatening the kids.

SOFIA
Catherine, dear, like Sal said, we’re
family here. Nothing bad is going to
happen to you. Tell us what happened.

TONY
Let us help you, Cupcake.

Cake looks at her mother and father, wanting to hate them

but losing the feeling. She takes a breath and when she
begins to speak we see sheer terror cloud Sonny’s eyes.

CAKE
I was high on crack. Sonny tried to
stop me from driving and I shot him.

Sonny reacts to the lie.

 13.

SAL
The arresting officer didn’t note any
erratic behavior consistent with drug
use. Are you sure you were high, Cake?

SOFIA
Sal, what kind of question is that?
Obviously she was impaired. Why else
would she try to blow her cousin’s
brains out?

Margot reacts.

SOFIA
I’m sorry, Margot.

SAL
Look, my men wouldn’t perform a field
sobriety test on her or any of the kids
without contacting me directly
beforehand. The fact that they brought
her in before calling me suggests that
the officer had no reason to think she
was jacked up on anything.

TONY
Sal, I know you’re the chief of police,
but stop being a hard ass. Cupcake
said she was high, so she was high.

SANTINO
Is that right, Sonny? You tried to
stop Cake from getting behind the wheel
when she was high on dope?

SONNY
Yeah, Dad. Yeah, Uncle Sal, it’s just
like Cake said.

END ACT ONE

 14.

ACT TWO

INT. INDOOR PRACTICE FACILITY – DAY

Ricky “Burner” Turner bursts out of a sprinter’s stance and

races down field. He’s got a bungy cord tied to his waist
and a TRAINER runs behind him, purposefully holding him
back. They stop after about 40 yards and Burner does it
again. Wide receivers coach Romeo Dumars watches him.

DUMARS
That’s it Burner, nice burst. Good way
to end up for the day.

The trainer begins unfastening his own bungy cord.

BURNER
Hold up. Let’s go again, back up the
field. One more time.

The trainer looks at Burner then at Dumars. Dumars nods

and they line up again. Burner gets in his stance. A
whistle BLOWS.

INT. ASSISTANT COACHES’S OFFICE – DAY/NIGHT

Four desks are arranged around the room giving it a “bull

pen” feel. Each desktop is littered with Coke cans, fast
food wrappers, sports paraphernalia, etc.

Special teams coach Bob Garcia is alone in the room,

working the PHONE HEADSET like Jerry McGuire, walking back
and forth for hours. He talks with his hands a lot,
occasionally checking player facts and stats in a BINDER on
his desk.

GARCIA
Russ, you’ve got the size, the speed
and the hands. We’re going to need
that in a tight end next season...
Reverend Perry, I’m telling you, Coach
Donahue constantly preaches the
importance of education to his players,
and you know Wa Tech has one of the
best Architecture programs in the
country... Crash, baby! You got the
kit I sent you, right? Did you love
those highlights from the Boise State
(MORE)
 15.

GARCIA (CONT’D.)
game and the Hawai’i Bowl? Yeah,
Achilles will put it up a lot, but he’s
going to need somebody to hand it off
to... You’re absolutely right to ask
that question, Miss Taylor. I can
assure you, our standards for
discipline are three times tougher than
they were before the incident with that
exotic dancer... Listen, Crash, if
that’s what it takes, Coach will be
there to talk to your uncle next
week... Jet, you’ve made the right
decision, trust me. Let me give you my
fax number and you can send that letter
of intent over right away...

INT. COACHES’ MEETING ROOM – DAY

Billy and his COACHING STAFF sit around the conference

table. White boards are covered with names of high school
recruits. Flip charts are equally crammed with names,
stats, and multi-colored post-it notes.

BILLY
All right, National Signing Day is less
than 2 weeks away. Bob, you’re
recruiting coordinator. Where do we
stand with or top prospects?

GARCIA
(reading from a legal pad)
Signed commitments, 4, including
wideout Jet Johnson. Soft verbals, 8,
leaning 4, including Hiawatha Cray.

JOE MERCER
I had a chance to see him play last
season. Kid’s got a helluva motor and
he plugs up the middle like a beast.

BILLY
What about Taylor?

GARCIA
That’s a no-go, Coach.

Billy reacts.
 16.

GARCIA
His mother can’t get past the stripper
rape case.

BULL HEFFERNAN
Look, with Boss graduating we need that
kid. He’s the best prospect we’ve got
at offensive line.

GARCIA
I get that, Bull, but I haven’t been
able to convince his mother that we’re
not running a whorehouse on campus.

BULL
When I visited them a week ago Mrs.
Taylor didn’t say boo about the case.

GARCIA
(annoyed)
Well yesterday she couldn’t stop
talking about it.

BILLY
Calm down, fellas. Is there anything I
can do, Bob?
(looks at his calendar)
Donna has set aside most of next week
and some of the following week for
travel if I need to.

GARCIA
With Taylor, I doubt it, Coach. I told
Crash Davis you’d fly to Houston early
next week to visit with his uncle. We
need the depth at running back, Coach.

BULL
That’s a long shot, Billy. Davis has
Texas, the University of Houston and
your old alma mater crawling up his
ass. My recommendation would be to go
down to San Diego and use that old
Donahue charm on Mrs. Taylor.

BILLY
Maybe I could give her a call tomorrow
and Bull you could go down again next
week. What do you say to that, Bob?
 17.

GARCIA
The call is a good idea, but having
Bull go again doesn’t help us.

BULL
What the hell’s that supposed to mean?

GARCIA
Look, Miss Taylor didn’t want to talk
to you about the one thing that’s on
her mind. I’d say that means she
doesn’t trust you.

Bull reddens, is about to go off.

BILLY
Okay, that’s enough. I’ll have Donna
arrange trips to both San Diego and
Houston.

EXT. CHAMBER OF COMMERCE (MAIN ENTRANCE) – DAY

Gale comes out of the building and is about to dial her

cell phone when she looks up at Phil Elliott. He’s walking
from the parking lot toward her.

GALE
Phil, what are you doing here?

PHIL
Gale, I wanted to see you.

GALE
I thought we agreed that you’d call me
Mrs. Donahue.

PHIL
Look, I’m not going to go on pretending
like nothing happened between us.

GALE
Why do I have to keep telling you this,
Phil? I made a terrible mistake.

PHIL
Well I didn’t. And I’m not going to let
you just blow me off like some punk.

GALE
Phil, this is neither the time nor the
place to discuss this.
 18.

PHIL
Well when is the time and where is the
place, Gale?

GALE
(anger rising)
Are you insane?

PHIL
No, Gale, I’m in love.

She’s heard enough, rolls her eyes, starts to walk away.

He takes her by the arm.

INT. JAGUAR – DAY

Mathilda is behind the wheel of Gale’s Jaguar, in the

parking lot, approaching the main entrance of the Chamber.
She spots the confrontation between Gale and Phil.

EXT. CHAMBER OF COMMERCE (MAIN ENTRANCE) – DAY

Gale spins and knocks Phil’s arm away.

GALE
(hot)
Phillip, you’re treading on very thin
ice.

PHIL
At least talk to me, Gale. I deserve
that much. Don’t treat me like a
child. Not after what we’ve done with
each other.

Mathilda pulls up in the Jaguar. She and Gale make eye

contact.

GALE
I’ll call you, Phil, and we’ll talk.

She gets in the car and Mathilda pulls away.

 19.

INT. JAGUAR – DAY

Mathilda looks at Gale, concerned.

MATHILDA
Is everything all right?

GALE
Yes, Mattie. Fine.

MATHILDA
What was that all about?

GALE
(curtly)
It was nothing, Mattie. Can you please
watch where you’re going?

MATHILDA
Yes, of course.

INT. DR. RUBENSTEIN’S OFFICE – SUNSET

Mathilda’s in her session with Dr. Michelle Rubenstein.

MICHELLE
Describe how you felt when Elizabeth
told you she was moving the family to
Hong Kong.

MATHILDA
I was crushed.

MICHELLE
Because the woman you loved was leaving
you?

MATHILDA
Yes, of course.

MICHELLE
But Armond didn’t have to take the
position. Elizabeth encouraged him to
apply for it.

MATHILDA
Yes, it was her decision to leave.

MICHELLE
Elizabeth wanted to leave you?
 20.

Mathilda reacts. The memory stings.

MATHILDA
She was afraid we would be found out.
In the beginning we both felt we were
going through some sort of phase and
that we’d come to our senses and stop.
But before long we were almost
inseparable. We began having trysts
even when Armond was in the house.
Sometimes, after we’d made love, we’d
lie in bed and she would quiz me about
my ideal man. Would he be European or
American? Athletic or intellectual?
She wanted me to find him and fall in
love. She wanted me to have a life
like hers – a successful, loving
husband and children. The more she
talked about that life for me, the more
I realized I could only be happy with
her...or someone like her.

MICHELLE
But you haven’t found that woman.

A long beat.

MATHILDA
Actually, I think I have.

MICHELLE
Lilly?

Mathilda reaches into her purse and pulls out a PHOTO. She
passes it across the coffee table to Michelle.

MATHILDA
That photo was taken 9 years ago, just
before they left for Hong Kong.

INSERT – PHOTO

Elizabeth Nielsen is beautiful. What we notice most about

her is that she bears a striking resemblance to Gale.

END ACT TWO

 21.

ACT THREE

INT. TAYLOR LIVING ROOM – NIGHT

A tattered room with old FAMILY PHOTOS in worn frames that

are hung too high on the walls. Several crucifixes hang
too. A PLASMA TELEVISION is the centerpiece of the room.

Billy sits across from ROLANDA TAYLOR (39), a stout,

religiously devout black woman. Her son, 6-3, 310 pound
RONNIE (17), sits by her side.

BILLY
Miss Taylor, I can’t tell you again how
much I appreciate your seeing me like
this. And that dinner, wow, that was
amazing. I wish my wife could make
chicken and dumplings like that.

ROLANDA
Well, thank you for coming all this
way, Coach Donahue. I’ll write down
the recipe for your wife. You know,
the last time I watched the Miss
America pageant, your wife won. She
was such a beautiful girl.

BILLY
Thank you, I’ll be sure and tell her
that when I give her your recipe. You
know, Miss Taylor, Gale takes a special
interest in the boys. She spoils them
rotten, really, baking them cookies and
pies and all sorts of things that the
team dietician says they shouldn’t
have. Every year before training camp
she throws a big Texas style barbeque
just for them.

ROLANDA
It’s nice to know there’s a woman
around to help you look out for them,
Coach. I believe you know what I’m
concerned about, don’t you?

BILLY
Yes I do.
 22.

ROLANDA
I saw the video of you standing up for
that boy who did that terrible thing to
that girl. And I read a lot of the
stories that said you should have lost
your job because of it. I’m not sure I
want Ronnie in an environment where
things like that can happen.

BILLY
I can appreciate that, Miss Taylor.
Gale and I have a 15-year-old son – his
name’s John Ryan, after Gale’s father
John “Wolf” Ryan, the football coach.
And I know how I’d feel if he were
1,000 miles away from home and
susceptible to all kinds of bad
influences. Miss Taylor, all I can
promise you is that Gale and I treat
every boy on our team as though they
were our adopted sons. We love them as
much as we can in the four years
they’re with us. And when they go
astray – and it does happened
sometimes, even to the best kids – we
try our dog gone best to bring them
back around. That’s what we did for
Walter, but it didn’t work out. We
failed, Miss Taylor. But knowing how
important this one thing is to you, I
give you my word I won’t let Ronnie
fall into that kind of trouble at Wa
Tech. Gale and I will watch him like a
hawk.

Beat. Rolanda and Ronnie look at each other then back at

Billy.

ROLANDA
I’d better give you my blueberry pie
recipe too. Maybe Mrs. Donahue can
make that for the boys once in a while
and Ronnie won’t feel so homesick.
 23.

INT. DONAHUE LAUNDRY ROOM - NIGHT

J.R. is dumping clothes in the washing machine. Gale comes

in, holding a GRADE REPORT.

GALE
J.R., I found this on the floor in your
room. Were you going to tell your
father and me about this?

J.R.
(shrugs)
Yeah, eventually.

GALE
J.R., your grades in biology and
algebra have slipped.

J.R.
Don’t have a hissy, Mom. I can bring
them up this trimester.

GALE
J.R., I’m afraid spending so much time
with Gracie is having an effect on your
schoolwork.

J.R.
Come on, Mom, don’t start up on Gracie
again. You so have it out for her,
don’t you?

GALE
I don’t “have it out” for her at all,
Sweetheart. Look, you have to be at
your best now, you know that. The
magistrate will take everything into
consideration at your hearing,
including how you’re doing in school.

J.R.
(teenage attitude)
Okay, Mom! I’ll buckle down.

He pulls off his t-shirt to toss it in the machine. Gale

is taken aback.

GALE
(piqued)
What the hell is that?
 24.

He looks down and smiles at the TATTOO on his chest.

“Gracie” is etched over his heart.

INT. AIRPORT TERMINAL – NIGHT

Billy’s waiting in line to board his plane. His cell phone

is glued to his ear.

BILLY
Yeah. I understand that, but...
(listens)
I know, Gale, but...
(listens)
Yes, there are procedures, but you
can’t force him to have it removed.
Gale...
(listens)
Yes, okay. I’ll talk to Dallas...
(listens)

INT. LAUNDROMAT – NIGHT

We’re watching clothes tumble in a dryer. In a moment we

make out a reflection in the glass of the dryer door. Its
Achilles, his cell phone pressed to his ear, staring at the
clothes. We hear the RINGING of his phone.

PORTIA (V.O.)
This is Portia. You know what to do at
the beep.

BEEP.

He flips the phone closed. Looks at his watch: 10:30 p.m.

We know he’s thinking, “It’s 1:30 in the morning in
Jersey.” He looks across the room. A PRETTY BLACK WOMAN
(20s) is folding clothes. She smiles at him.

EXT. STREETS – NIGHT

Achilles walks with his laundry bag slung over his

shoulder. It’s a cold night. We see his breath when he
exhales. At a quiet corner he stops, stares into space.
 25.

EXT. STREETS – NIGHT (FLASHBACK)

Portia is kneeling over Marcus’ body, crying her eyes out.

Achilles is still in shock, holding the Glock at his side.
O.S. we hear the faint sound of SIRENS. The sound sobers
Portia. She gathers her wits, gets up, goes to Achilles.

PORTIA
Lee, we have to go.
(takes his face with her
bloody hand)
Lee!

ACHILLES
But, but we can’t just...

PORTIA
Listen to me. If we don’t leave now,
you’ll never get out of here. Do you
understand?

He focuses on her, notices the blood on her hands and coat.

ACHILLES
Portia are you all right?

PORTIA
Please, Lee, we have to go now.

She takes the gun and leads him away as the SIRENS grow
louder.

EXT. STREET – NIGHT (RETURN TO PRESENT)

Achilles stares into the night.

PRETTY BLACK WOMAN (O.S.)

Achilles! Want a ride?

Achilles focuses on the woman, who is calling him from a

TOYOTA SUV stopped at the intersection.

PRETTY BLACK WOMAN

It’s cold out there. I can take you
home...and warm you up.

An emptiness has taken hold of him.

ACHILLES
Thanks. No. I’ll walk.
 26.

PRETTY BLACK WOMAN

(smiling)
All right. Maybe next time, okay?

He just looks at her blankly. A car pulls up behind the

SUV and HONKS. The woman rolls up the window and pulls
away from the intersection.

EXT. ALLEY – NIGHT

Achilles turns into a dark alley, leans against a building.

He’s all alone and feels it. He closes his eyes tightly,
tries to hold his feelings inside but can’t. The memory,
the pain, the guilt all rush at him with the force of a
hurricane. He begins to cry, falls to his knees and sobs
uncontrollably.

INT. PLAYER’S LOUNGE – DAY

Players are chilling. One of them calls out.

PLAYER
Hey! Check it out!

ON THE TELEVISION SCREEN Sandy Sanderson reports.

SANDERSON (V.O.)
Fresh off their win over BYU in the
Hawai’i Bowl in December, Coach Billy
Donahue and the Washington Tech Sea
Devils are still on a roll this
National Signing Day, signing two blue
chip high school recruits. Running
back Paris “Crash” Davis out of
Houston’s Central High and offensive
guard Ronnie Taylor from Palos Verdes
High in San Diego, were among 25 high
school seniors who signed letters of
intent to play for Wa Tech next fall.
Donahue also signed Demarcus “Jet”
Johnson, a speedy wide receiver from
Westlake High in Beaverton, Oregon.
With the return next season of Ricky
Burner Turner, quarterback Achilles
Addams could have two explosive down
field threats in his arsenal.
 27.

INT. DONAHUE GREAT ROOM – DAY

ON THE TELEVISION Sandy Sanderson continues reporting.

Billy is half listening and reading a fishing magazine.
Gale comes in.

GALE
So you weren’t able to land any of the
boys from L.A.?

BILLY
You know how it is. Sometimes a boy
just has his heart set on going to a
particular school. That’s how I was
with going to A&M and playing for your
father. You could’ve offered me a full
ride to University of Texas and I still
would’ve taken my chances as a walk on
for Wolf.

It’s a pleasant memory for both of them. At the wet bar,

she pours him a scotch-rocks, takes it to him.

BILLY
Thank you.

She sits.

GALE
Billy, I want you to invite Dallas over
for dinner.

BILLY
(treading carefully)
Okay. Why?

GALE
Dallas obviously has some influence
over J.R. It only makes sense that we
keep an eye on both of them. Do you
agree?

BILLY
If that’s what you want to do. Okay.

GALE
I’ll leave it to you to let his mother
know.

He nods. She stands and heads out.

 28.

GALE
(turns)
Ask him to bring that girlfriend of
his, the one from the hospital.

BILLY
Gale. Thank you.

END ACT THREE

 29.

ACT FOUR

INT. DELTA HOUSE FOYER – NIGHT

A DOORBELL RINGS. The door opens and a DELIVERY MAN stands

holding a bouquet of RED ROSES.

DELIVERY MAN
Delivery for Audra Lively.

A DELTA takes the roses, signs for them and closes the
door. She turns around and we see that the foyer is a
virtual florist’s shop. Thousands of RED ROSES fill the
small reception area.

INT. DELTA LIBRARY – NIGHT

BURNING CANDLES are all over the place. A sacred ceremony.

Valerie Kim and five other DELTA SENIORS wear matching pink
camisoles, skin-tight black pants and stiletto-heeled
boots. They look like fashion models ready to hit the
catwalk. Twelve PLEDGES, including Suzy Johnson and Kristi
Yamaguchi, sit solemnly before them.

VALERIE
Ladies, Valentine’s Day is a special
day for Delta House. It’s when we once
again assert our feminine superiority
over the men who desire us, and the
women who aspire to be us. A Delta is
imbued with a highly refined set of
feminine qualities, qualities that make
her irresistible to men and the envy of
women. She is a force to be reckoned
with, spiritual, sensuous, seductive,
passionate and above all mysterious.
Out in the Great Room there are 25 very
lucky Sigma seniors. For the last 10
years, we have treated the seniors of
our brother house to a special
Valentine’s Day gift. It is a
tradition that one day you, too, will
carry forth. Ladies.

The pledges stand in unison and file out of the room.

 30.

INT. DELTA GREAT ROOM – NIGHT

Hundreds of BURNING CANDLES light the room. The SIGMAS are

dressed in matching sport coats, the SIGMA CREST
embroidered on their breast pocket. They line the walls
with about 25 Deltas. Five of them, including the SIGMA
PRESIDENT, sit side-by-side in straight back chairs in the
center of the room.

Valerie walks in slowly, a single BURNING CANDLE in her

hand. She gives the candle to the Sigma president. The
five other Delta seniors file in and follow suit, handing
their burning candle to a seated SIGMA.

Starting with Valerie the six Deltas each begin to perform

a graceful, erotic, choreographed dance. They spin, bend,
pair up, single off, move around the seated Sigmas like lap
dancers. It’s the classiest cock tease we’ve ever seen.
The Sigmas around the room watch, mesmerized. Valerie and
the Deltas finish by letting their hair flow down over
their shoulders and blowing out the candles held by the six
seated Sigmas.

INT. DELTA FOYER – LATER

A nonstop parade of boys comes through the door to pick up

dates for Valentine’s Day.

INT. VALERIE’S ROOM

Nina Miller puts the finishing touches on her makeup.

Valerie is on the bed, casually flipping through COSMO
MAGAZINE.

VALERIE
Says here tantric techniques can make a
woman orgasm seven times in one night.
Can Jabari do that for you?

Nina looks at her in the mirror.

NINA
I know brothers down in the islands who
can curl a sister’s toes and make her
hair stand on end. But nobody - I mean
nobody - has put it on me the way
Jabari does. My baby be jammin’!

Valerie blushes.
 31.

NINA
(smiling)
Don’t even.

VALERIE
What?

NINA
You Asian girls try to front like
you’re too sweet and pure to get down
and nasty, but you’re not fooling me.
I know what’s up. Your people invented
Kama Sutra, beads up the butt, sex oils
and all that stuff.

VALERIE
Kama Sutra is from India, not Korea.

NINA
Whatever. You know what I mean.
You’re all just freaks in geek’s
clothing.

VALERIE
Now that we’ve got that straightened
out...

Nina crosses to the closet and pulls out her dress.

VALERIE
That dress is fantastic Nina. You’re
going to blow Jabari away.

NINA
Then I’ll just blow him.

VALERIE
(laughs)
Slut!

NINA
You sure you don’t want to come out
with us just for a little while?

VALERIE
Like it wasn’t embarrassing enough that
I didn’t have a date for the Bowl Bash,
now you want me to go for the ultimate
shame and be a third wheel on
Valentine’s Day. Pass.
 32.

NINA
A lot of hot girls have boyfriends that
aren’t on campus. That won’t stop them
from having fun tonight...You know,
Valerie, you could get a date with one
phone call.

VALERIE
Uh-huh. What’s that number again, 1-
800 Pity Date?

NINA
You know who to call.
(off Valerie’s reaction)
Just call him, Valerie.

VALERIE
He doesn’t want to talk to me, Nina.
Anyway, I hear that soccer player he’s
with is some kind of uber-slut, so
they’re probably going at it like
rabbits already tonight.

NINA
I wouldn’t be so sure of that. Jabari
told me she’s not “with” him at all.
They just train together sometimes.

VALERIE
So that’s what they’re calling it
nowadays? Like I said, he doesn’t want
to talk to me and I’m fine with it now.
(sarcastic)
I don’t need closure with the great
“Iceman” Achilles Addams any more.

NINA
(miffed)
All right, that’s it! I’ve had it with
all of this pseudo reverse psychology
closure crap!

VALERIE
What?

NINA
I’ve seen what’s been happening to you
for the last month and a half.

VALERIE
Nina, how many times do I have to tell
you I don’t love him.
 33.

NINA
(raising her hand)
Cut it. I’ve lived with you for three
years, “Val.” I know you better than
anyone on this campus and I know what
this is really about. Not love. Not
closure. It’s not even about sex
anymore. You just can’t stand the
thought that another girl on this
campus might have her hooks into
something you believe is yours. This
is about possession, honey, pure and
simple.

VALERIE
Nina...

NINA
(raises her hand again)
Nnnnn! Nnnn! Enough! No more biting
off pledges’ heads or sitting around
crying in the dark. For Christ’s sake,
girl, you’re a Delta. You’re the
Delta! If you want him, take him!

INT. D’AGOSTINO’S RESTAURANT - NIGHT

Valentine’s Day is a big night at Maitland’s best

restaurant. Harold and Maria Pennebaker are in one of the
exclusive private booths. Charlotte Webb and her husband
Ronald Fraser are in another. Billy and Gale are in yet
another.

Giorgio, the waiter from Episode Six, refills Billy and

Gale’s wine glasses just as Sofia D’Agostino stops by their
table.

SOFIA
Good evening, Coach, Gale.

BILLY
Hello, Sofia.

SOFIA
Gale, you look incredible tonight.

GALE
Thank you, Sofia. Everything’s been
just fantastic. The Sole was
absolutely incredible.
 34.

SOFIA
Thank you so much for saying so. I’ll
let know Fredo know you approve.

GALE
How is Cake doing?

SOFIA
She’s better. Thank you for asking.

GALE
I know your family is strong and close-
knit. But if there’s anything that I
can do, please let me know, Sofia.

SOFIA
(takes Gale’s hand)
Thank you, Gale.

Phil and his pretty Native American girlfriend Jess

Whirlwind are at another table. He steals a glance at the
Donahues, exchanges a look with Gale.

EXT. HYUNDAI – NIGHT

The windows of the car are fogged.

INT. HYUNDAI – NIGHT

J.R. and Gracie stop making out. J.R. begins searching the
pockets of his jeans. Gracie smiles at him, grabs his belt
buckle and starts to bend down. He stops her.

J.R.
No, that’s not what I wanted.

GRACIE
I thought you liked it?

J.R.
I do, but...

GRACIE
Okay then...

He stops her again.

GRACIE
Johnny, it’s okay. I like doing it for
you.
 35.

He reaches in his pocket, finds what he was looking for.

The RING is small but pretty. The gemstone matches her
violet eyes. She can hardly believe what she’s seeing.

J.R.
(smiling)
Happy Valentine’s Day, Gracie.

Her eyes water with tears of joy as he slides the ring on

her finger.

INT. HOSMER COMPLEX – NIGHT

Achilles and Burner leave the locker room in street

clothes, pass through the player’s lounge, walk down an
empty corridor.

BURNER
I’m going to work the glutes hard
tomorrow. Got to get that explosive
first step back.

ACHILLES
You should try Pilates. It seems
pretty gay at first, but it’s a really
good workout, especially if you combine
it with the right diet.

BURNER
All right, clue me in to that tomorrow.

EXT. HOSMER COMPLEX – NIGHT

Achilles and Burner exit the complex.

ACHILLES
You sure Mia’s not pissed at you for
leaving her stuck at home on
Valentine’s Day.

BURNER
Mia and me are totally simpatico.
We’re all about me getting back on that
field. There’ll be plenty of time for
loving when I’m playing in the NFL.
(off Achilles’ nod)
Tomorrow, 3 o’clock, A?

ACHILLES
You got it, B.
 36.

They bump knuckles and Burner heads off into the night.
Achilles walks toward the parking lot.

EXT. PARKING LOT – NIGHT

Achilles approaches his Agusta 4 motorcycle. As he gets

closer he notices something odd. He kneels in front of the
bike.

ACHILLES
What the fuck.

A pink-handled STILETTO is stuck in the front tire, which

is flatter than a pancake. He pulls the blade out and
reads the Greek lettering on the handle: “Delta Tau Chi”.
We hear high heels CLICKING O.S. coming closer.

ANGLE ON a pair of black stiletto-heeled boots. The boots

stop in front of Achilles. He looks up at trim, athletic
legs, a tight black skirt and a Delta pink ski jacket.

ACHILLES
(standing)
Valerie, what the hell...

VALERIE
Oh, so can see me?

ACHILLES
You did this?

VALERIE
(takes the stiletto)
I was wondering what it would take to
get your attention.

ACHILLES
So you vandalized my bike? That’s real
mature, Valerie.

VALERIE
You mean like giving someone the silent
treatment? I know you’re just a
freshman, Achilles, but really. I
expected more from you.

His jaw tightens, he clinches his fists.

ACHILLES
I could say the same about you, Val.
 37.

VALERIE
And just what is that supposed to mean?

ACHILLES
Are you serious?
(off her raised eyebrow)
“My family is so traditional. I could
never disappoint them after all the
sacrifices they’ve made for me. They
love Richard so much.”

VALERIE
And?

ACHILLES
And he’s no more Korean than I am!
Just your good old fashioned, blonde
haired, blue-eyed, lily white American.

VALERIE
I never said Richard was Korean.

ACHILLES
You never said he wasn’t. And don’t
deny that you wanted me to believe he
was.

VALERIE
You’ve got a hell of a lot of nerve
criticizing me. Back Seat Becky Van
Helsing!? My God, Achilles! She’s so
white her people came over on the
fucking Mayflower! They probably owned
some of your ancestors!

ACHILLES
At least she’s honest!

VALERIE
(lashing out)
She’s a whore!

ACHILLES
Better a whore than a liar!

She slaps him hard on the face. They glare at each other.
 38.

VALERIE
How could you sleep with her, Achilles?
How could you?
(then, vulnerable)
Do you care about her?

He lowers his eyes. Stares at the ground for a long beat.

ACHILLES
It hurt, Valerie. Seeing you with him.
It really hurt.

They lock eyes again, only now with a different emotion.

VALERIE
Achilles...I never wanted to hurt you.
I’ve regretted that every day since it
happened.

She reaches out, tugs his jacket lightly then clings to it.

VALERIE
Can we go somewhere?

ACHILLES
What for?

VALERIE
(moves closer)
Please, Achilles. There’s someplace I
want to show you.

He looks down at the flat motorcycle tire. She pulls her

car keys out of her jacket pocket, puts them in his hand.

INT. BURNER’S APARTMENT – NIGHT

Mia Cartwright, the streetwise hottie from Compton with

runway model looks, is lounging on the couch watching the
Tyra Banks show. Tyra is giving advice to a woman whose
boyfriend is cheating on her with her own sister.

ON THE TELEVISION SCREEN

TYRA (V.O.)
Your man is a low down dirty dog, but
you can fix that. Get rid of him. The
bigger problem is the one you can’t get
rid of: your sister. What was going on
inside of that head?
 39.

Mia takes a sip from her MOJITO, sets it back down on the
table.

MIA
White girls.

The door of the apartment opens. Burner comes in, sets his
workout bag down.

BURNER
Hey, Baby.

MIA
(gets up)
Hey, Baby.

They meet. Kiss lightly.

BURNER
What’s to eat? I’m starvin’ like
Marvin.

MIA
Do I look like Hazel to you?

Burner sees Tyra and the aggrieved white woman on the

screen. Shakes his head.

BURNER
I hate it when women watch those shows.
Whatever that woman’s man did to her,
all of us fellas are going to get
blamed for it tonight.

He heads for the kitchenette.

MIA
(smiling)
Maybe you should. When’s the last time
you talked to Mabel?

BURNER
Your sister? You know I can’t stand
that girl, why would I talk to her?

He pulls a box of cereal from the cabinet, starts eating it

dry. She comes in behind him, reaches around and opens the
microwave. She pulls out a plate of food.

MIA
It should still be warm enough.
 40.

He kisses her on the cheek.

BURNER
Thanks, Baby.

They go and sit on the couch together. They watch Tyra

while he eats.

MIA
How’s it been going with Achilles?

BURNER
(between bites)
It’s going good. Tomorrow he’s going
to show me some of that Pilates stuff
that he used to get back from his
injury so fast.

MIA
That’s good. But I hope you don’t need
that.

BURNER
I read somewhere that Pilates is good
for preventing injuries too. It helps
keep you flexible, pliable or something
like that.

MIA
What you need to prevent injuries is a
Q.B. who doesn’t hang you out in the
breeze like a damn sheet.

BURNER
Baby, leave it alone. It wasn’t Phil’s
fault. You know that.

MIA
(sips her drink)
Hmmm-hmm.

BURNER
Did you know that Jerry Rice and
Terrell Owens are big on Pilates?

MIA
Really?

BURNER
Yeah. Lot’s of pro athletes are
seriously into it. Achilles said it
really helped him.
 41.

He finishes his food, sets his plate down on the table.

She gives him a look like, “I hope you don’t expect me to
move that.” He gets the message, takes the plate to the
kitchen.

MIA
Baby, will you bring me a Motrin when
you come back?

BURNER (O.S.)
Okay.

Mia takes another sip of her cocktail, her eyes glued to

the screen. When Burner comes back, he stands in front of
her so she can’t see the television.

MIA
Baby, I can’t see.

He steps aside. She puts her hand out for the Motrin. He
puts a small JEWELRY BOX in her hand instead.

MIA
(surprised)
Ricky, what’s this?

BURNER
It’s Valentine’s Day, Baby.
(kneels beside her)
Open it.

She does and her eyes glow. It’s not big or spectacular,
but it is an ENGAGEMENT RING.

MIA
Oh, Ricky.

BURNER
Baby, I can’t tell you how much I love
you. You mean everything to me. And
the way you’ve stuck with me through
everything that’s happened. Well, I
know I could never feel about another
woman the way I feel about you.

MIA
(tears flowing)
Oh, Ricky!

She puts the ring on her finger. She admires it.

 42.

BURNER
I know it’s not much, but when I make
it to the pros, I’ll buy you the
biggest rock you can imagine.

She kisses him, holds his face with both hands and gazes
into his eyes.

MIA
Ricky, I don’t care if you don’t play
in the NFL. I don’t care if you never
play another down of football as long
as you live. All I know is I want to
be with you for the rest of my life. I
love you, baby. I love you.

They kiss and embrace tightly.

ON THE TELEVISION SCREEN

TYRA (V.O.)
And ladies, there aren’t a lot of good
men out there, so when you find one you
need to hold onto him...

EXT. COTTAGE – NIGHT

The cottage is easily 100 years old. Quaint. Picturesque.

Landscape lighting gives it a storybook look. Achilles
follows Valerie to the entrance.

INT. COTTAGE - NIGHT

Valerie pries open a side window, climbs inside. Achilles

follows. It’s chilly inside, but rustic, homey.

ACHILLES
What is this place, a museum?

VALERIE
Something like that. The family that
owns it runs the bed and breakfast up
the road. The rooms here are too tiny
so they don’t rent it to guests
anymore. It’s used mostly for
weddings, photo shoots and things like
that.

Achilles walks around the small room.

 43.

ACHILLES
Why’d you want to come here?

VALERIE
I think it’s a very romantic place.

ACHILLES
Really?

VALERIE
(smiles)
Yes, especially at night. When it’s
quiet like this.

ACHILLES
You’ve been here at night?

He completes his circle tour of the room in front of her.

She looks deeply into his eyes.

VALERIE
No. But I’ve always wondered what it
would be like to make love here.

Beat. He takes her slim waist in his hands, pulls her to

him. She teases him with her lips and tongue, kissing,
licking and biting his mouth and neck. She unzips his
jacket, unbuttons his shirt, undoes his belt. He lifts her
up, sets her on a table, parts her legs and runs his hands
up her thighs. She stops him just long enough to flash a
wickedly possessive smile that tells him he belongs to her.

EXT. COTTAGE – NIGHT

As a light snow falls, we hear Valerie in the throes of

passion.

END OF ACT FOUR

 44.

ACT FIVE

INT. ACHILLES’ BEDROOM - DAY

Achilles opens his eyes. He’s in bed, sheets around his

naked body. He lifts his head, sees Valerie sitting at the
foot of the bed, jacket on, hair pulled back. She’s ready
to go.

ACHILLES
Hey. You’re leaving?

She looks over her shoulder, smiles.

VALERIE
Hey. I’ve got some business at the
house to take care of.

ACHILLES
Really? This early? What time is it?

He looks at the clock on the nightstand: 7:15 a.m.

VALERIE
You should go back to sleep. Call me
when you wake up. I’ll meet you for
breakfast.

She comes around, sits on the edge of the bed. She smiles
lovingly at him, kisses him tenderly.

EXT. ACHILLES’ APARTMENT – DAY

CAMERA FOLLOWS Valerie as she leaves the apartment, walks

down the outdoor stairwell to the parking lot.

EXT. MINI COOPER - MOVING – DAY

Valerie drives past the campus gateway, turns onto Sorority

Row, passes Delta House.

EXT. GAMMA RO HOUSE – DAY

The Mini Cooper parks in front of Gamma House. Valerie

gets out, walks to the front door. She POUNDS on the door.
Waits. POUNDS again.
 45.

INT. GAMMA RO HOUSE – DAY

A GAMMA opens the door and stares, half-asleep, at Valerie.

She’s about to speak but Valerie walks past her into the
house, heads straight for the spiral staircase. She
obviously knows where she’s going.

INT. BECKY’S BEDROOM – DAY

Two mounds are sound asleep in separate beds. The room is

dark. That is until Valerie opens the door, crosses the
room and whips open the blinds. The two sleeping mounds,
Becky Van Helsing and a BRUNETTE GAMMA, angrily shield
their eyes like vampires.

BRUNETTE GAMMA
Hey!

VALERIE
(to Brunette)
Get out.

BRUNETTE GAMMA
(groggily)
What!?

Valerie grabs a fistful of the girl’s hair, drags her out

of bed and across the room.

BRUNETTE GAMMA
OW! Hey! What the fuck!

Valerie throws her out of the room and slams the door shut.
Locks it.

BRUNETTE GAMMA (O.S.)

(pounding)
Hey! Open this door, bitch!

BECKY
What the hell is your problem, Valerie?

Valerie goes to the bed, clutches Becky’s throat.

VALERIE
You are, Becky.

Becky tries to free herself but Valerie’s grip is tight.

She shoves Becky back, bumping her head hard against the
headboard. Becky’s face loses color. She gasps for air.
 46.

More POUNDING on the door.

GIRLS’ VOICES (O.S.)

Becky! Becky! Are you all right!
Becky! Somebody call the police!

VALERIE
Whatever you had with Achilles, or
thought you had, is over. You talk to
him, you touch him, you even so much as
look at him again while I’m on this
campus, and I’ll be back.
(leans closer)
Do we understand each another?

Becky can barely move but manages to nod “yes”.

INT. GAMMA HOUSE – DAY

A GROUP OF GAMMAS and their worried HOUSE MOTHER are

gathered outside Becky’s room. The door opens and Valerie
steps out. They look at her in stunned silence. She scans
them coldly, a wisp of hair dangling between her eyes. She
walks past them, down the spiral staircase.

As Valerie nears the front door Becky rushes to the top of

the stairs, leans over the railing.

BECKY
(shouting)
He’s going to find out about you,
Valerie! He’s going to find out what a
psychotic bitch you are! Valerie!

Valerie stops, can feel Becky’s eyes on her like laser

sights. She straightens her jacket and brushes the wisp of
hair off of her face with the back of her hand. Never
looking back, the Ice Princess opens the door and walks out
of Gamma House.

INT. J.R.’S BEDROOM – DAY

It’s dark. We hear the sound of construction workers and

construction equipment. J.R. puts a pillow over his head.

J.R.
Arrrrgghhh! Fuck!

Gracie snuggles up from behind and spoons him. We notice

the ring on her finger.
 47.

EXT. DONAHUE HOME (CONSTRUCTION SITE) – DAY

Men are hard at work laying the foundation of Rose Ryan’s

cottage. Darryl pores over blueprints. Mathilda comes to
him, pours a cup of hot coffee and hands it to him. This
time she also offers him a PASTRY. She smiles. He takes
the pastry, smiles back.

EXT. DONAHUE HOME – DAY

Billy stops jogging, walks up the driveway. He picks up

the newspaper.

CONSTRUCTION WORKER
‘Morning, Coach.

The CONSTRUCTION WORKER walks past Billy on his way to the

construction site in the back yard.

BILLY
‘Morning.

Billy goes into the house. We follow him as he makes his

way to

INT. DONAHUE GUEST BEDROOM – DAY

Billy comes in, peels off his windbreaker. He looks across

the room. His CELL PHONE is on the dresser. He goes over,
picks it up, hits a button and puts it to his ear.

CELL PHONE (V.O.)

You have one saved message.

He pushes another button to listen to the message.

GABRIELLE (V.O.)
Hi, William. I know it’s just a silly
Hallmark Holiday, but I hate not being
with you today. I suppose you’ll go
out tonight, even if it’s just for
appearances...Well, I miss you today.
I miss you every day we’re not
together...See you next time.

Billy hits a button.

CELL PHONE (V.O.)

Message will be saved for 13 days.
 48.

He puts the phone down and goes into the bathroom. We hear
the shower turn on O.S.

INT. DONAHUE MASTER BATHROOM – DAY

ANGLE ON the vanity mirror. After a couple of beats, Gale

appears, staring at herself, almost in a trance. CAMERA
MOVES DOWN. In front of Gale on the counter we find a HOME
PREGNANCY TEST STICK. The readout is blue. Gale is
pregnant.

FADE OUT.

END OF EPISODE