UP ON: OZ PARK--DAY
man in his mid-twenties walks through Oz Park.
It is the beginning of spring in Chicago, so while the trees are blooming
it is still cold enough that he needs a jacket.
He wanders aimlessly, obviously deep in thought.
There's this Bob
Dylan song called "Don't Think Twice, it's All Right."
In it is the line, "I gave her my heart, but she wanted my
soul." Times like this I
understand what he's talking about.
is a nice looking downtown apartment, small but well decorated and with a nice
view of the skyline. At first, the
living room is empty of people. We
see a couch, end tables bookending the couch, and a chair set to the side.
Ray's narration continues, the following action occurs:
enters the frame from the left side--she is an attractive, stylishly dressed
woman of about 25, blond hair impeccably done.
She wears a light brown pantsuit. Sally
sits down on the left side of the couch.
follows, inching past Sally's outstretched legs and seating himself on the right
side of the couch. Ray is also
about 25, tall and neatly groomed, but with
notably less style than Sally. Ray
is wearing jeans and a plain shirt.
THERAPIST then enters the frame from the left, and sits in the chair on the
side. She is a woman in her mid
forties, with short brown hair in a professional cut.
She is also wearing a light colored pantsuit--in fact, to look closely,
she is a perfect version of Sally, twenty years from now.
I had been dating a
girl named Sally who decided that after the relationship hit the six month mark
it was time to take me in for some service.
This was our first and only session.
Sally, Ray, I'm going to jump right into it here, so I hope you're ready
nods her head confidently, while Ray stares ahead.
Well, then, I guess the best place to start would be why you're here.
Usually that's a very successful way of getting the couple to talk about
their problems, and begin relating to each other.
That won't be
necessary. I can pinpoint the
problem pretty accurately. Ray's a
I mean, there's
really just nothing going on here.
thumps Ray's head. Ray keeps
staring, used to this kind of treatment.
If he didn't have the
other head, I don't think he'd get any thinking done.
Therapist bursts out laughing hysterically, then calms down when she notices
that Ray is not laughing.
no response from Ray.
Okay, let's try some
TO: Med. shot of Ray and Sally on
the couch, Sally has a goofy expression on her face and is talking in a
satirically low voice.
I'm an idiot, don't ask me, duh...
TO: Same shot, now Sally has a hand
puppet and she is making the puppet talk into Ray's ear.
Ray also has a puppet, but it lies dormant on one of the hands he has
folded in his lap. Sally is talking
in a funny, squeaky voice with her puppet.
I don't like you!
You stupid! Nyahh!
TO: Same shot, only now Sally has a
big foam club and is hitting Ray over the head repeatedly and with great
enthusiasm, grunting with every strike to emphasize her effort.
Ray remains in the same stoic state he has maintained all along.
TO: Same shot, now Ray is hooked up
to electrodes and Sally has the trigger device.
My birthday is April
hits the trigger, and Ray flinches painfully.
When the shock is over, however, he returns to his stone face.
I like roses for
hits the trigger again, and Ray flinches.
You must hold me
hits the trigger, and Ray flinches.
TO: C/U of a credit card reader
swiping across a credit card and receipt.
TO: Med. shot of the Therapist,
Sally, and Ray getting ready to leave. The
therapist is making the receipt with the card reader, and Sally is standing next
to her. Ray stands behind Sally, his demeanor unchanged.
The Therapist hands the credit card to Sally, who passes it back to Ray.
Doctor, this was very
helpful for Ray. I feel we dealt
with a lot of Ray's issues that were just kind of hiding beneath the surface.
Although there still seems to be a lot of problems with Ray.
I'd recommend you bring him in again for some more work.
snaps her hand around and swipes the credit card away from Ray, handing it over
again to the Therapist, who snaps it back into the reader and runs the bar back
and forth over the card.
RAY'S CAR: DAY
and Ray are in Ray's car, on the way back from the therapist.
Sally tries to light a cigarette with the car's lighter, but it doesn't
work. She throws it out the window
and reaches into Ray's coat pocket for a lighter.
What's important here is that the action is performed as if Ray was a
purse or a desk drawer.
lights her cigarette and takes a deep drag.
God, that was great.
And I think those eighteen sessions I scheduled for next month are going
to be a big help for you. Actually,
maybe we should start seeing her every day.
It would probably fix you a lot quicker.
I wonder if I could get one of those foam clubs for myself.
And I should call her and find out where she got that electric shock
thing, maybe there's like some kind of home version...
Sally talks, her voice fades out and Ray's narration comes in.
A lot of people have
a lot of good things to say about therapy.
As for me...
TO: C/U of Ray's foot slamming on
TO: Med. Shot of Ray's car coming
to a sharp stop.
TO: INT. Ray's car, Sally reacting
to the stop and turning to face Ray.
What the hell was
that? What do you think you're
TO: C/U of Ray's face, he turns to
Sally and smiles.
TO: Back of Ray's car just as it
pulls away, pull back to bring Sally into the frame, standing on the side of the
You son of a bitch!
I'm trying to help you! You
I'd have to say that
it helped make a pretty tough decision much easier.
HARD ON THE KNEES
are intercut with a montage of Ray clearing Sally's stuff out of his
apartment--pictures, stuffed animals, pantyhose off the shower curtain,
"How To Control Your Man" books
apartment is a two bedroom, fairly large apartment in a two-flat building.
Ray is in the kitchen, talking on the phone and standing next to the
counter. He is looking at a pile of
Yeah, I'd like to
report a stolen credit card. (pause)
Well, I've been holding for--hello?
sighs and examines the invoices from the psychiatrist's office.
DOOR OPENING & CLOSING
does not react to the door, and speaks while looking at his forms.
enters the kitchen. He is taller
and thinner than Ray, with dark hair and eyes that seem to be constantly wide
open. Phil walks right up to Ray and stands a few inches away,
pulling his hair away from his eyes with one hand and sticking his forehead
close to Ray's face while pointing to his eyebrows with the other.
I'm losing my eyebrow
hair. A whole clump of it came out
in the shower this morning, I found it on my hand after I just ran my fingers
across my eyebrow. See this right
here? That's a bald spot.
A freaking eyebrow bald spot. That's
it, man. It's over. See?
right there. See?
stares calmly at Phil, then perks up at a voice on the line.
Yeah, I've got to report a stolen credit card.
No, please don't put me on--
slumps a little, obviously on hold again. In
resignation, he hangs up the phone. He
turns and faces Phil, who is still waiting for Ray to examine his eyebrows.
You know, Phil, I've
got absolutely no expertise on eyebrow hair loss.
Right there, man.
See? You can't miss it.
goes to the oven and tries to see his reflection in the glass door.
I broke up with Sally
I saw it coming a mile away. You're
gonna be much happier now. Do they
make like, eyebrow Rogaine?
turns and faces Ray.
I'm a little upset
about this, Ray!
Well, I'm upset about
breaking up with my girlfriend!
You know, women come and go, but when you lose that eyebrow hair, man,
you're talking freak for life!
stares at Phil for a moment, as if he can't believe he's for real.
Finally he closes his eyes and shakes his head.
I'm not having this
walks toward the door and puts on his coat.
Abandon me in my hour of need. Leave
me here, a hideous hairless jackal!
walks out the door and slams it shut behind him.
Tom & Liz's House--Day
as we hear Ray's door slamming shut, we cut to the door of Tom and Liz's house
opening. Revealed behind the door is Liz, Ray's sister in law and old
friend. She is Ray's age, with dark
brown hair cut conservatively. She
is attractive in a comfortable way, dressed in casual clothes.
Come on in!
opens the door wide to let Ray in, and he enters the house.
two walk into the house after Liz shuts the door behind Ray.
What brings you by?
Oh, just going a
little stir crazy. Where's that bum
brother of mine?
He should be home in
Probably out drinking
again, spending your nest egg on prostitutes.
What'd have to go and
marry him for, Liz? You were like
one of the guys, and now you've got this permanent tattoo that reads 'woman.'
Don't blame me, you
Well, I didn't think
you'd fall in love with him. The
guy's such a bozo...
Oh, stop it.
You love your brother.
looks around the house as if he's examining a kind of suburban hell.
you can't tell me the sex is good. There's
no way my brother is good in bed.
Ray is talking, Liz shoots him a sly look.
This is a nightmare.
What's bothering you?
I'm just...you know...I just...
You just broke up
looks around as if to make sure there's no signs with his thoughts printed on
How did you know
Because every time
you break up with a girlfriend, you come over here and yell at me for marrying
I'm getting pretty good at figuring you out, Costello.
I should charge you for therapy.
Yeah, well, get in
DOOR OPENING AND SLAMMING SHUT
TOM (off screen)
I see my freeloading,
no-good pain in the ass little brother's bike outside, that can only mean one
Don't come in yet,
we're still naked.
enters the room. Tom is in his late
twenties, and is dressed in a suit. He
is more neatly groomed than Ray, but the family resemblance betrays a sort of
roughness about him. He drops a
briefcase on the floor and crosses over to where Liz is standing.
Well, I don't hear
any hysterical laughing, so that can't be the case.
grabs Liz by the waist and pulls her close.
plants a dramatic kiss on Liz's neck, hamming it up in front of his brother.
Ray sighs unhappily.
lets go of Liz and straightens up, looking at Ray and then back to Liz.
So what's the squirt
doing here? Raiding the fridge?
Liz and I were
talking about those penile implants you've been considering.
No, no, honey, you've
got it all wrong. Those are a gift
Ray broke up with
We got any beer?
walks out of the room toward the kitchen.
This is why I talk to
you about these things.
Have a doughnut and
I don't want
shoots Ray a stern look. Ray sighs
and grabs a doughnut off the counter, taking a large bite.
moves to an easy chair and sits down, Liz sits across from him on the couch.
Let's have it.
All right, here's the
thing. In the past few years, I've
had a bunch of relationships. Some
of them were good, but for the most part they just never really should have
happened in the first place.
I'll go along with
And I always figured
that it was because I was always drifting from job to job, living day to day,
and I was never in the frame of mind to have a long term thing.
But things have been going well for me--I've got a well paying job, my
own place--everything's stable, and I still couldn't make it work with Sally.
I'm going to go out
on a limb here and say that that one wasn't really your fault.
I'm going to be alone
You are not going to
At the rate I'm
going, it's a definite possibility!
Look at me!
I'm just stumbling around, from one bad relationship to the next, while
everyone else is getting married. They're
all settling down, and I feel like I haven't even shaken up yet!
You're not making any
You can say that
I think it's a little to soon for you to be declaring yourself a hopeless
cause. This whole "finding the
right one" thing always happens when you least expect it, when you're not
looking so hard.
I don't get that,
either. Every time I turn around,
someone is trying to sell me on the whole, "oh, it just takes time, it'll
hit you when you're not even thinking about it, just sit back and let it
happen." I don't buy that for
pauses and stares at Ray.
You know what I
think? I think you don't want a
solution to this problem. I think a
sadistic little corner of yourself is enjoying this--going on bad dates,
constantly changing partners while the rest of us are with the same people year
after year, then complaining about how you really want to meet the perfect
woman, but you don't want to get married.
stares at Liz in amazement.
Oh, for Christ's
I mean it, you are so
incredibly misdirected that it's just plain fascinating.
How did we get to be such good freinds when you have such a limited
understanding of me?
All right, Ray, I
We go through this
every six months or so, nothing ever gets resolved, and I just end up getting
beat up on. Well, I'm done.
I'm not going to try to help you sort out your crazy love life anymore,
because I'm obviously the wrong person for the job.
You want this done right, why don't you ask someone who knows better?
Go see a shrink.
I was just at--
takes a step toward the hallway, then turns to Ray again.
Better yet, go ask
your old girlfreinds what went wrong. I'm
sure they'd be more than happy to tell you all your faults.
spins on her heel and storms out of the room.
Ray stands up, points a finger toward her and opens his mouth to retort,
but then stops as a realization hits him--this is not a bad idea.
After a beat, Liz pokes her head back into the room.
rides a motorcycle along a rural two-lane road, into an expensive subdivision.
I decided the first
stop would be Jasmine, basically because she lived the closest.
Jazz was my first serious girlfriend, and we didn't really date for that
long--just long enough for her to realize I wouldn't be making my first million
before hitting thirty...or fifty, or eighty for that matter.
She lived on the Gold Coast with her parents, who cleaned up in the early
eighties by starting asbestos removal services.
TO: Shot of Ray, Jasmine, and
Jasmine's father sitting down at dinner. It
is a silent scene, from about three years ago, with Ray looking a little younger
than we know him now.
Her father offered me
a job once, but I declined.
is saying the next line from narration to Jasmine's father.
I told him I got
plenty of deadly fibers from breakfast cereal.
TO: Jasmine's father, staring at
He didn't laugh.
TO: EXT. JASMINE"S HOUSE
pulls up the driveway to Jasmine's house and steps up to the front door,
stopping for a moment to compose himself--this is, after all, his first time
seeing her in a while--and finally knocking on the door.
A moment later, the door is opened enthusiastically by Jasmine, an
attractive woman in her early twenties. She
is impeccably dressed, thoughtfully trendy and chic.
Her hair and makeup are done and her nails are painted.
Her enthusiasm quickly fades when she sees Ray--she was expecting someone
Oh my God...
Hey, Jazz, how you
doing? Jeez, you look great, can I
You can not be
female voice from inside the house calls out to Jasmine.
Jasmine, darling, are
Is that your mom?
Can I say hi?
ignores Ray and calls back to the voice.
turns back to Ray.
You can not be
You having a party?
Well, who's at the
Raymond Costello, if
you continue to stand in my doorway like this I'm going to find something heavy
and hit you...
There's that spice I
miss; listen, I just need to ask you something. Why do you think it didn't work between us?
I'm serious, Jazz--
Jasmine, darling, who
on earth are you talking to?
I'll be done in a
turns back to Ray.
Raymond, I'm going to
hire someone to shoot you if you don't--
MALE VOICE (OS)
looks past Ray, and Ray turns around to see who is here.
people are walking up the driveway. The
first is a man in his late twenties, well-dressed and confident in the way he
holds himself. He is CHAD BECKWITH.
The second is Chad's father, a prestigious-looking man in his late
fifties. The last is Chad's mother,
elegantly dressed and a bit snobbish looking.
Chad steps past Ray to share the doorway with Jasmine.
plants a light kiss on Jasmine's cheek.
Oh, now I get it...
steps in front of Ray to be introduced to Chad's parents.
Jasmine, this is my
mother and father. Mother, Father,
this is Jasmine.
Just Ray, ignore him.
Come right in, my
mother is dying to meet all of you.
three file past Jasmine into the house.
I'll be right behind
closes the door quietly behind them and turns to Ray, grabbing him by the
Raymond, that young
man is worth more money than a thousand of you put together.
Tonight, after dinner, he is going to ask my father for my hand in
marraige. It is the culmination of
several months of hard work and fake orgasms, and if your presence here has in
any way compromised this, I'm going to have your testicles made into earrings!
walks off screen and into the house. Ray
Although Jazz hadn't
directly answered my question, the reason for our relationship's ending was
beginning to become very clear.
pulls into a spot in front of a small diner.
Ray gets off the bike and enters the diner.
After my disastrous
visit with Jasmine, I decided to stop and get a bite to eat before going on to
my next stop. It was right about
here that I discovered an integral part of any road trip--
is seated at a booth, looking through the menu.
A waitress approaches.
Bad food at every
How's the meatloaf?
looks up, surprised.
Wouldn't touch it
with a stick.
Is that so.
How about the soup?
Don't get me started.
Well...uh...just a glass of water, I guess.
It's your funeral.
waitress something down on her pad, taking far longer than just the word
"water" should take. Finally,
she spins on her heel and walks off. Ray
looks after her for a while, then stares down at the table.
Needless to say, I
decided to skip lunch and go straight on to Lisa's.
is driving along a highway.
Now, keep in mind, I
wasn't going in chronological order. Lisa
was actually just before Sally--
TO: Still of Sally hitting Ray over
the head with the foam club
who, if you'll
remember, I broke up with at the beginning of this whole thing.
My relationship with
Lisa was based strictly on sex--which, at the time, I thought was just fine.
Then, somewhere along the line I decided that there had to be more to
love than fifty ways to please your lover, and I ended it.
Lisa was more disappointed than sad, mainly because now she had to teach
someone else the 27 pressure points that made her really happy.
LISA'S APARTMENT BUILDING --DAY
pulls up to Lisa's building and gets off the bike.
He walks into the building.
We faltered from time
to time, falling into bed now and then, but that all ended when I met Sally.
It had been over six months since I had seen Lisa.
LISA'S APT BUILDING--DAY
approaches Lisa's door and knocks. A
moment later the door opens a crack, and through the chain latch we see Lisa's
face peering out. She is an
attractive woman in her mid-twenties, with black hair and extreme makeup. Her eyes widen at the sight of Ray.
shuts the door for a second, then throws it open again, unencumbered by the
chain latch. She grabs Ray by the
shirt and hauls him into the apartment.
drags Ray into the apartment, shutting the door behind him.
The apartment is modest but well-decorated, with tastefully suggestive
artwork on the walls and candles lit and scattered about.
Lisa begins tugging at Ray's belt, chattering away as she works.
Ray fumbles with her hands, trying to keep them from succeeding in their
Good to see you, Ray,
been a long time, let's get these pants off, keep the shoes on--
No--no, Lisa, wait.
That's not-- I actually came
here to-- Hold on, now-- Lisa, can we just talk for a minute?
stops and stares, stunned for a moment. Then
a look of sly understanding comes across her face.
I get it...
You're the virgin schoolboy, I'm the substitute teacher...
starts to object, then considers it, then objects again.
No...Lisa, listen. I really need to actually talk.
Well, that's a new one. I
was just going to make some hot chocolate, you want one?
turns and walks into the kitchen.
Now, there's a whipped cream joke in there somewhere, but it's just not
Lisa laughs, we dissolve to:
LISA'S APARTMENT: DAY
dissolve to a C/U of two empty mugs, crusted with the remains of hot chocolate.
As Ray speaks, we cut to a two shot of Ray and Lisa sitting facing each
other on the couch.
So I guess I'm just
wondering what the problem is. I
mean, why do you think it didn't work between us?
Ray, as far as I was
concerned, it did work. I mean, the
Okay, but that was
mostly you...and the costumes...and that trapeze thing...but I always thought--
You always thought
there should be more to it than that. I
know, Ray, you told me all this when we broke up. I don't have anything new to tell you. I thought things were fine the way they were, and you wanted
something more. I don't think
you're a bad guy because of it, you're just confused.
You don't know what you want.
nods a bit at this, then is silent, obviously still bothered.
puts a finger under Ray's chin, and tilts his head toward her.
I bet I can raise
smiles, takes hold of her hand, and kisses it, standing up.
Difficult as it is to
say no to you...
Oh, you're no fun
laughs as Lisa stands up, and they walk to the door.
They stop in front of the door, and Lisa turns to Ray.
You ever get lonesome
for the old times, you know where to find me.
starts to answer as Lisa opens the door, but is distracted by a man in leather
laying across the doorstep like a dog would.
slave jumps up at the sound of Lisa's voice and clasps his hands in front of his
How long have you
An hour, mistress.
I did not command you to speak! Get
in here, you disgust me.
slave, head bowed, enters and kneels at Lisa's feet.
Lisa turns back to Ray.
Domination's my new
thing. Take care, Ray.
Don't be a stranger.
nods, and walks out the door. As he
Lick my feet, you
door shuts behind Ray, and he walks out of the building, dazed.
Now, don't get me
wrong--I'm all in favor of an imaginative sex life; but there's a line, and I
think Lisa slid across it on a stream of contraceptive lubricant.
sits at another diner booth, looking through the menu.
A waitress steps up and holds her pad so close to her face that we can't
see her mouth. Ray has not noticed
this, and begins to order.
Hi, I'll have--
If you want to live,
listen very carefully. I'm going to
pretend I'm telling you the specials, you nod every now and then.
Got it? Good.
You are in the wrong place. Bad
things happen to food here. Down
the street there is a place called Bob's Burger's & Beef.
Stand up right now, get a table there, do not order the fish.
Here's your check, have a nice day.
looks around, picks up the check, sighs, and resignedly pulls out a few bills.
The next stop was
Batavia, where Kristen lived. I
figured it had to go better than my search for food had been going.
rides along the highway.
That was a toss up,
though. Kristen and I had a pretty
painful breakup. We dated after
Jasmine, and things actually went pretty well.
We started talking--just talking, remember--about getting married.
Then, something happened that threw a monkey wrench into the plan.
I met someone else.
pulls up the driveway of Kristen's house, a modest ranch.
Ray positions his bike so it faces away from the house.
So the question of
the day was, after all this time, could she still be bitter?
I figured that by now she had to understand.
see a window to the outside, with a curtain over it.
KRISTEN comes into frame, and pulls back the curtain to see Ray parking
Son of a bitch...
lets back the curtain, grabs a softball bat by the front door, and walks out of
follow as Kristen walks out the front door and approaches Ray.
Ray still has his back to her as he is unstrapping his helmet.
hesitation, Kristen whacks Ray on the back of the helmet with the bat.
Ray cries out, more with surprise than pain, and falls sideways off the
How dare you!
How dare you show your face at my house!
Jesus Christ, Kris!
pulls the helmet off.
I would not
take that helmet off if I were you, Costello!
stumbles to his feet, and drops the helmet.
What are you, nuts?
Put the helmet back
Like you're really going to smack me with that thing.
You've got a lot of
nerve, coming here after what you did...
And it was so
terrible that you've got to hit me with a bat.
Is that it, Kris? Tell you
what--if you really think I deserve it, then go on. Take your best shot. I've
got it coming, right?
spreads his arms out and offers his chin for Kristen to hit.
Kristen pauses, simmering. Finally,
she throws the bat to the ground.
You son of a bitch.
drops his arms and straightens out again.
You can't do it, can
you? Face to face, you can't--
is interrupted by Kristen punching him in the face.
sits at the kitchen counter, a bag of ice pressed against his eye.
Kristen comes into frame, sitting on the other side of the counter,
lighting a cigarette, and looking sideways at Ray.
So, how you been?
glares at her.
I told you not to
take the helmet off.
Ray is still silent,
Course, you didn't
listen to me back then, I don't know what made me think you'd listen to me now.
Kris, I'm not the bad
guy here. I fell in love with
someone else. I didn't mean for it
to happen, it just happened.
Oh, that's right.
It was an accident. You were
just wandering down the street, and accidentally asked someone out to dinner
about seven or eight times--
It was like four or--
And then you accidentally
waited until I'm practically picking out bridesmaids dresses to tell me it's
is silent again, he has no defense against this--it's true.
How is the little
princess, anyway? Or did you screw
that one up, too?
glares for a moment, then turns his gaze to the ground.
I knew it.
You're a real piece of work, Costello, you know that?
Have you noticed a trend here?
does not respond.
Here, let me run
through it for you--you meet a girl, get along great, start to fall in love, and
then run like a sissy boy. Sound
smiles a half smile that quickly fades. The
realization has hit him, and he seems beaten.
You need help, Ray. You're
turning into a character from a Woody Allen movie.
slowly gets to his feet.
Always good to see
walks across the room to the front door. Kristen
watches him, suddenly sympathetic, perhaps surprised by her own viciousness.
stops, and Kristen speaks as she crosses over to him.
You...you can't be
blamed...for falling in love. I can
accept that much, I guess. But it's
your own damned fault if you run away from it.
If you're going to throw away what we had for someone else, I'd at least
like to know that it meant something.
looks away for a moment, considering this.
looks back at her.
I guess I'm going to
have to find out.
smiles sadly, and kisses Ray on the cheek.
Take care of
smiles the same sad smile, nods, and walks out.
Kristen walks to the window and watches him get on the bike.
Which left Alison.
The one I left Kristen for. The
one I'd been avoiding this whole day; the one that came closer to perfect than
any relationship I'd had.
rides into the north side of the city.
I could never really
explain why I did it. It went
against every piece of advice I'd peddled from everyone who would listen.
For her, it came out of nowhere--one minute everything was fine, the next
I was walking away.
TO: EXT ALISON'S BUILDING
pulls up to a vintage apartment building in Chicago.
It hurt like hell
then, and to tell the truth it hurts right now. And the worst part is, I never knew why I did it.
TO: INT ALISON'S BUILDING
stands outside the door to Alison's apartment as Alison opens the door.
opens the door. She is an
attractive woman in her mid-twenties, with dark brown hair and blue eyes. She looks at Ray, amazed; he is the last person she expected
I can't believe this!
How are you?
Oh, my god, what
happened to your eye?
Listen, you doing anything right now?
I need to talk.
I was just going to... Well,
no, nothing. You want to go for a walk?
Yeah, that would be
TO: OZ PARK
and Alison walk through the park.
So, they rule in
favor of the state. Two weeks
later, I get a phone call from the CEO of Eastman Kodak--he says any lawyer can
win a case against his house team, he wants working for him.
Sold out to the man,
Hey, you would too,
for that kind of money.
I don't even want to
laughs. The two sit down on a park bench. There is silence for a moment.
Is everything all
rubs his forehead as he responds.
Yeah, I'm fine.
No, you're not.
You're not fine.
What makes you say
You always rub your
forehead when you lie.
takes his hand off his forehead and grimaces.
What's on your mind,
takes a deep breath.
you know? I--
glances back and forth for a moment, then finally settles his eyes on Alison as
he summons the nerve. He takes
Okay, here goes.
I just went through another breakup, and it got me thinking.
I was getting worried that I was just going through the same motions over
and over again. I started worrying
that it would never stop. So I
thought I'd go back-- Back to
relationships I'd had, to talk to my old girlfreinds and ask them what went
touches Ray's sore eye.
And how is Kristen?
helped the most.
She knock some sense
You could say that.
I realized that with my other relationships, there had been something
about the combination--something about both people--that didn't work.
Either she had different values, or I had different goals, or whatever.
There was always a problem.
But with you and me,
the only thing wrong was the time. I...I
got scared, I felt trapped, I-- I
ran like a sissy boy.
Wait, just let me
finish, let me get through this. It's
different now. I'm different
now, I'm not afraid anymore. I
realize now, more than I knew back then, how good we could be together--how much
I need you in my life. Ali... if
you could find it in your heart to forgive me, if you could give me another
chance, I promise you I will do everything I can to make it work.
stare at each other for a moment, Ray hanging on Alison's answer.
Alison lowers her eyes to speak.
Ray... I'm engaged.
visibly deflates with disappointment, and turns to face forward as Alison
I really am sorry. But I never thought you'd come back like this.
I worked so hard at getting over you, and when I did, I met someone.
sees how crushed Ray is, and stops.
You...don't want to
hear about the guy.
shakes his head.
Are you going to be
pauses for a moment, then turns to Alison and smiles weakly.
As he speaks, he rubs his forehead.
Yeah, I'll be fine.
notices his action, looks at his hand, and smiles at Alison.
I'd better go.
Lee's going to wonder where I am.
stands up, looks at Ray for a moment, and leans over.
She kisses him gently on the sore eye.
turns and walks offscreen.
Don't Think Twice, It's Allright
And that was that.
TO: OZ PARK
continues their walk through the park alone.
I came here for
answers, and I got them. Only
they're not the answers I wanted to hear. So,
in spite of my new found wisdom, I'm back at square one.
I don't know--maybe that's just the way it's meant to turn out sometimes.
Maybe you get one chance, and if you miss it, you miss it, and you don't
sits down on a park bench.
Maybe some people go
through their lives and just never find anyone. Maybe for some people it's just not meant to be.
And maybe, just maybe--
I'm one of those
Ray sits and ponders, an attractive blonde walks up and sits on the opposite end
of the bench.
looking at the woman, Ray slowly slides a bit closer to her on the bench.
He looks at the camera and smiles.
went back to Ray's apartment to pick up her things....
And fell in love with Phil, who doesn't mind therapy at all.
new husband lost his entire fortune in a New Orleans card game.
They now run a successful Velvet Elvis Painting roadside stand.
hosts her own radio advice show for the lovelorn
down to show Slave curled up at her feet, sleeping
was voted MVP of her softball team three years in a row.
is still confused...
Ray talking to a girl at dinner, another girl walks by and Ray follows her with
his eyes. His date grabs him by the
chin and tilts his head back toward her.
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