[Opening scene - Cedar Knoll Middle School. Student Council meeting in progress. Max, holding a gavel is sitting at a table with a teacher and several other students.]
GIRL 1: Okay, now, there is one last order of business. We should talk about the school dance.
MAX: A dance is unnecessary. We're using the budget to get another vending machine.
GIRL 2: Max, can we drop the vending machine for just a second?
GIRL 3 : We always have a dance.
MAX: Not this year.
GIRL 1: Mr. Mason.
MR. MASON: Max, we have submitted your strongly worded proposal to the principal.
MR. MASON: In the meantime, Courtney brings up a possible activity for the student council to fund. Do we want to fund a dance?
ALL: Of course.
GIRL 1: Okay, Max, everybody in this room wants to have a dance, okay?
MAX: Except for me. And I'm the president, and that's all that matters.
[Talking over each other.]
GIRL 1: Okay, how about this? How about all in favor of having a dance, raise your hand? [They all raise their hand, except Max.] Majority rules.
MAX: I veto.
[Hits the gavel on the table.]
GIRL 2: Oh, God.
MR. MASON: Max, it doesn't work that way.
MAX: The president has veto power. We learned that in your class.
GIRL 3: Max, that's the president of the United States of America.
MAX: And this school is in America. I veto the dance. Veto! Veto. Veto. Veto.
[Hits the table again.]
[NEW SCENE - Julia in her kitchen.]
JOEL: Oh, my God. Is that the pasta maker we got from our wedding?
JULIA: I liberated it from the bottom cupboard.
JOEL: Wow. I'm impressed.
JULIA: And now I'm thinking we should start a garden in the back with the kids in the spring--
JOEL: Wow. Okay.
JULIA: And have tomatoes and basil.
JOEL: Sure. Yeah.
JULIA: They would love it, right?
JOEL: We'll live off the fat of the land. You know, get off the grid. It's good, honey. Hey, I wanted to talk to you about something. Um, do you remember Carl Wright?
JULIA: Yes, the guy that does all the commercial work.
JOEL: Yeah, exactly. So he's on the verge of taking on, you know, more than he can handle. He's, uh-- he's put in a bid on this just huge job, and he asked, you know, if it goes through, if I'd be his foreman.
JULIA: That sounds pretty interesting.
JOEL: Yeah, Carl's a great guy, and, you know, it couldn't have come at a better time. We got the-- you know, we could use the money.
JULIA: Babe, I think right now is a really important transitional period for all of us with Victor, so he's got to be the priority.
JOEL: Yeah, yeah. No, of course. Of course, but, you know, I just figured this could be great for everybody. I mean, you always said you wanted to be a-- you know, have a chance to just stay at home and be a mom, and now you can be.
JULIA: Sounds great.
JOEL: [Chuckles] Yeah.
[NEW SCENE - Sarah and Mark in bed looking at a laptop.]
SARAH: Oh, nice place to have a wedding.
MARK: I know. Can you believe it? They're basically renting out all of Napa.
SARAH: Ooh, pretty.
SARAH: Go back to the spa, though.
MARK: [Chuckling] Okay.
SARAH: You can get that
[Sarah's cell phone rings, she looks at the screen.] Uh-oh.
MARK: Who is it?
SARAH: [Scoffs] Hello? Ha-- it's Hank.
MARK: Hank, yeah. It's 1:00 in the morning.
SARAH: I'm sor-- I don't know. He's bombed. Oh! Why-- how'd you get there? Oh, Hank, can't you call a cab? A cab! A t-- oh, God. Um, okay. Um, I guess so. Look, Hank, just stay there, okay? Stay there. Good-bye. [Hangs up.] Oh, my God-- drunk mess. Can't even figure out how to call a cab. I'm just gonna get him and take him--
MARK: He didn't have anyone else he could call?
SARAH: I guess not. I mean, he could barely say his own name. It's a disaster. It's just-- he's really not far. I'll be right back.
MARK: All right.
SARAH: Okay. I love you.
MARK: All right, I love you too. All right.
[NEW SCENE - Inside Rizzoli Photography, Sarah is helping hank up the stairs to his apartment.]
SARAH: Okay, you got to-- you got to keep going.
HANK: I thought I saw something run across right there.
SARAH: What do you mean, like a mouse or something?
HANK: I don't know. It might have been, like, a-- Leprechaun or something. I used to have a rat.
HANK: God, my wife is such a-- She's ruining my life, and--
SARAH: I know.
HANK: She's not even here. She's not even
SARAH: I know.
HANK: She doesn't even live here, and she's ruining my damn life.
SARAH: It's horrible. It really is. Let's just get you to bed.
HANK: Let me stop. Let me stop.
SARAH: No, no, don't stop. Don't stop, don't stop. No, no!
HANK: I want to rest.
SARAH: No, please. No. Look at how far-- you're almost there.
HANK: I hear the ocean.
SARAH: Mm, I don't think so.
HANK: I got to tell you.
HANK: It's hard enough for me and Ruby--
SARAH: Yeah. [Straining] Okay.
HANK: It's hard enough, um--
SARAH: You got it. And let me get your jacket.
HANK: You know, that I live here. And then she lives there.
HANK: And now she's gonna move, like, 1,000 Miles away.
SARAH: Mm-hmm. I'm sorry.
HANK: What am I gonna do?
SARAH: I don't know, Hank. You got it. There you go. [Helping Hank off with his jacket.] Okay. And in.
HANK: I'm not even gonna see my daughter anymore on the weekends--
HANK: If she's 1,000 Miles away. I'm gonna, like, see her every Christmas now.
HANK: And that's what I mean.
SARAH: Something will work out, okay?
HANK: It's gonna be horrible. I'm gonna be a horrible dad.
SARAH: You're not a horrible dad, Hank.
HANK: You know, she didn't even tell me. She's gonna move-- To Minnesota. She didn't even talk to me. She didn't have a conversation with me.
SARAH: I'm sorry.
HANK: At least ask me about it. Right?
HANK: And now what?
SARAH: I'm sorry.
HANK: She's taking my baby.
SARAH: Go to sleep.
HANK: She's taking my little girl.
SARAH: [Whispering] It's gonna be okay.
[Sarah sighs as she moves closer, climbing on the bed she removes his glasses.]
SARAH: Good night. [Sighs]
[Opening credits - featuring Forever Young by Bob Dylan]
[NEW SCENE - Luncheonette next day, Amber is helping Ryan.]
AMBER: It's a good resume, for the most part. I like "Field Representative." That sounds professional. Mmm.
RYAN: I used to represent fields.
RYAN: Where do I put this? [Takes some gum out of his mouth.] I don't-- I'm done with this.
AMBER: I'll take it.
RYAN: Thank you.
AMBER: Mmm! Do you want it back? I'm sorry.
RYAN: I've been chewing that for three hours.
AMBER: Here, let's share it. You can get half.
RYAN: It's so lady and the tramp.
WOMAN: Hi! Um, yes. I'd like to, uh-- Speak with the owner or a manager of this establishment.
AMBER: Oh, okay. Sure. Uh, well, Adam's not here right now. But Crosby's--
AMBER: Crosby I in a session, but he'll be out soon--
WOMAN: Oh, in there?
AMBER: I'll sit. Excuse me, I'm sorry. No, no--
WOMAN: No, that's fine.
[The woman makes her way into the studio where Crosby is talking to a band, 'Early Morning Rebel'.]
AMBER: Hey, hey, hey, you can't just go in there!
WOMAN: Which one of you is the owner?
AMBER: Crosby, I am so sorry.
WOMAN: Which one's the owner? The owner?
CROSBY: I am. Crosby Braverman.
CROSBY: Hi, who are you?
WOMAN: Marlyse. I'm Marlyse. I just moved into the building next door.
CROSBY: Okay, welcome to the neighborhood. How-- what's-- what's the problem?
MARLYSE: You know what would be great? If I could park in either one of my two-- two-designated parking spaces for my building, that I paid for.
CROSBY: You're saying someone here is blocking your
MARLYSE: But I currently can't, because somebody is blocking--
AMBER: I can move the van.
CROSBY: Amber can move--
MARLYSE: And they've been blocked every single time I've tried to park there-- every time. And there's constant noise coming from the alley, every night, and it's always after 11:00!
CROSBY: Okay. Are you using this
MARLYSE: Yeah, and there's smoking. Smoking
MARLYSE: everybody's smoking under my window.
CROSBY: Well it a
MARLYSE: It's disgusting. There's cigarette butts--
CROSBY: [Trying to stay calm.] Marlene, I would love--
MARLYSE: It's Marlyse.
CROSBY: It's Marlyse.
MARLYSE: It's French.
CROSBY: Great. So I'd be happy to talk to
MARLYSE: It's horrible.
CROSBY: But let's work this out when I'm not with three clients.
MARLYSE: No, I want to talk now.
CROSBY: Well, I heard you talk.
AMBER: I will take a list of complaints.
CROSBY: I would love to hear more about all the things we're doing incorrectly here.
MARLYSE: Yeah I'm not coming back. Yeah, just finish
[Amber, Ryan and Marlyse leave the studio.]
CROSBY: Welcome to the neighborhood.
[NEW SCENE - Rizzoli Photography, Hank is talking on the phone when Sarah enters.]
HANK: Yeah, yeah. I've done it, yeah. I've done the whole conference thing.
SARAH: Knock, knock.
HANK: Yeah, I know that's a cattle call and all that. I'm good. I'm okay. All right, thanks. [Ends the call.]
SARAH: Just making sure you weren't dead.
[Hank's cell phone rings.]
HANK: Just open that for me.
[Tosses Sarah a bottle of pills, she almost drops.]
SARAH: Who was-- ah, ah!
HANK: [Talking o n the phone.] Yeah. Uh-huh. No, no. I'll do a booth. I said I'll do a booth. I don't know. Well, I didn't know there are sizes. I don't know. A small one. Okay, thanks. [Ends the call.] Booked on a job in L.A. So I can go figure out this thing with Ruby.
SARAH: That's what that is? You got a booth somewhere?
SARAH: For what? Why don't you just call them?
HANK: I got to see her. I got to see her, and I need a plausible reason for being in L.A., otherwise Sandy's gonna get all nutty and-- "This isn't your weekend!"
SARAH: So you booked a job just to have a reason to go?
SARAH: Look, I'm gonna open up, okay? And maybe get coffee. Do you want coffee?
HANK: I do. I want a lot of coffee.
SARAH: Okay, I'll get a lot of coffee.
HANK: Hey, thank you. Thank you for last night. I didn't say anything weird, right?
SARAH: I'll never tell.
HANK: I probably said a lot of weird stuff. Whew.
SARAH: Why'd you call me?
HANK: I just-- you know, I was-- I was drunk. I don't know.
HANK: Why'd you answer? [Chuckles]
SARAH: I'm going to get coffee.
HANK: Thank you.
[NEW SCENE - Sycamore Charter Elementary. Busy hallway we see Julia and her kids walking.
JULIA: Hey, so, Victor, you have your permission slip. You have to remember to give it to Mrs. Barakiva, right? Huh?
VICTOR: I know.
JULIA: Don't forget this time. Cool?
JULIA: Okay. [To Sydney] Love you, sweetie.
JULIA: Bye, mama. Love you. Have a good day at school. Love you, Victor.
[He pulls away.]
JULIA: [Laughing] Give me a kiss.
WOMAN 1: Julia!
WOMAN 1: You know, Sean hates it when I show him an ounce of affection in public.
WOMAN 2: Same thing with Dylan.
JULIA: Yeah. Boys.
WOMAN 1: Hey, Joel mentioned you lost your job.
JULIA: Yeah, um-- Yeah, I'm just taking a leave, you know. Anyway--
WOMAN 1: Hey, we're on our way to our Wednesday morning coffee club.
WOMAN 2: You have to come-- it's a totally fun group of girls.
WOMAN 2: Totally, totally fun.
WOMAN 2: Emily Ziskin, Carter's mom is part of it.
WOMAN 1: Meg, Jerry's mom.
WOMAN 2: Yes. Oh, and, um, you know Annie Draydon. She does all the bake sales.
WOMAN 1: Bake sales. That's right. Oh, and Pammy-- eight kids.
WOMAN 2: Her husband just left her.
WOMAN 1: For another man.
JULIA: Oh, it sounds totally fun, but I'm-- I have such a busy day. I'm just running off to--
WOMAN 1: We can tell you about all the teachers that have a crush on your husband.
[The school bell rings]
WOMAN 2: The list is long.
[The two other women both laugh.]
JULIA: Oh, I'm sure.
WOMAN 2: We never get to hang with you.
WOMAN 1: No is not an option.
WOMAN 2: Come on, you're coming with us. We're parked in the back.
[NEW SCENE - Kristina and Adam at home talking to Max.]
KRISTINA: So, buddy, we hear you're quite the filibuster king.
MAX: I'm not "Filibusting" anything.
ADAM: You've been standing in the way of some projects that other kids in the student council want to do. Your advisor, who says you're doing a great job running the meeting's agenda, is concerned that every time these kids bring up this dance, you just keep saying no.
MAX: Yeah, it's called a veto.
ADAM: Buddy, if you want to be a successful leader, you have to listen to your constutuents.
KRISTINA: That's right. It's part of the Democratic process.
ADAM: Okay. Along with great power comes great responsibility.
KRISTINA: And it's a dance. It's fun.
MAX: All right, it's a waste of the budget. We don't even have the vending machine yet.
ADAM: It sounds to me from your advisor like the majority of these kids want to have the dance.
KRISTINA: They do. They do.
ADAM: So you can save yourself some trouble and aggravation by just letting it happen.
MAX: I don't think it's needed.
KRISTINA: I think that's what should happen.
ADAM: Compromise. What do you say?
MAX: But I'm not going.
KRISTINA: Oh, Max, you're going.
[NEW SCENE - Sarah cooking in Mark's kitchen.]
SARAH: [Gasps] Foxy.
MARK: Yeah? [Holds up some ties.] Which, uh-- which one?
SARAH: Hmm, that one maybe.
MARK: This one? That's what I was gonna say.
MARK: [Chuckles] Thanks.
[Sarah wraps her arms around Marks neck and they kiss.]
SARAH: Mm. Is this your wedding costume?
MARK: This is my wedding costume and the costume we'll be wearing in the suite that I got. I upgraded.
MARK: [Gasps] What?
MARK: Yeah, now we're in the Merlot suite.
MARK: I know.
SARAH: Where were we-- in the Chardonnay shack?
MARK: Some white wine. Now we're in the Merlot suite, where anything can happen.
SARAH: [Laughs] Oh, my God, honey. That's so nice. Mm.
[They start kissing again.]
MARK: I love you that much.
[Drew enters the apartment.]
DREW: Oh, you guys, hey, there. I'm here.
SARAH: Uh, hey, dinner's almost ready.
DREW: Oh, I just ate-- At Amy's. Sorry.
SARAH: I started heating up your
DREW: I know I love that jar you do.
SARAH: The jar of your favorite stuff.
DREW: I love that one, but--
SARAH: Alright. Well, uh grandma and grandpa just called too. She wanted to know what you'd like to eat this weekend. So you should call them back.
DREW: I'll probably just, like, make stuff here.
SARAH: No, no, no, you're staying with grandma and grandpa when we go to the wedding, remember?
DREW: Why can't I just stay here?
SARAH: No. You're not staying here by yourself. We-- we've talked about this.
DREW: What do you mean?
SARAH: You're staying at grandma and grandpa's. I don't think you listen to anything I say.
DREW: For what reason?
SARAH: Because you're in High School, and you're not staying here by yourself.
DREW: Yeah, but when Amber was 17, we used to stay alone.
SARAH: Well, I've learned a few things since then.
DREW: Yeah, Amber's crazy, and I'm not.
SARAH: I know you're not crazy, honey.
DREW: [To Mark.] Does this make any sense? Please.
MARK: Yeah. Yeah. No, um, it's already set up to go to your grandparents' house, so--
DREW: [Scoffs] All right, fine. [Drew goes into his room and closes the door.]
[NEW SCENE - Rizzoli Photography Sarah is working when Hank comes in.]
SARAH: Hey I think, um-- I think my bevels are getting really good. Look at that.
HANK: That's pretty good. You screwed up the corner there, but that's okay. Listen, get online and book us a flight to L.A. Just for this weekend. Like in, out-- Friday, Saturday.
HANK: This weekend. It's this Hollywood convention thing. You know, you take head shots and that kind of crap. And then I can go straighten this whole thing out with Ruby.
SARAH: But-- sorry--
HANK: Yeah, I got a plan. We do the thing, and then I'll go talk to my ex-wife, you know, without any lawyers. And I was thinking Ruby can hang with you, because you connect with her, and maybe you'll find out--
SARAH: I'm sorry, Hank, this has to be this weekend?
HANK: Yeah, I-I-- yeah.
SARAH: But I-I took off this weekend. I'm-- I took off on Friday and Saturday. I'm going to that wedding in Napa.
HANK: Oh. Oh, that's this weekend?
SARAH: Yeah. But you booked a job for this weekend?
HANK: Yeah, yeah, yeah. But okay. All right, you got plans?
SARAH: It was-- it's in the book.
HANK: Yeah, yeah, I got to get down there, because, you know, they're gonna start looking at schools and everything. I just-- I got to get down there. But it's okay.
SARAH: Well, I-I mean, I didn't know we had a job. You know, maybe I-- Can figure out a way to-- Do both.
HANK: Yeah, okay. Yeah.
SARAH: Let me talk about it with Mark. Maybe we can figure something out.
HANK: Appreciate it.
[NEW SCENE - The Piping Cup coffee shop, Zeek and Ryan are sitting at and outside table.]
ZEEK: Well, now, I can see that there's some big gaps in your job history.
RYAN: Yes, sir.
ZEEK: You want to tell me about that?
RYAN: Um, I was serving our country, sir. I was in Afghanistan for two tours.
ZEEK: Right. Well, see, here, Ryan, I think you should just tell 'em you're a self-starter, that you're easily motivated, and this thing about Afghanistan-- just say you were gone, now you're back, and that's the end of the story.
ZEEK: Do you know what I did when I first got back?
RYAN: What's that?
ZEEK: Well, I sold Encyclopedias door-to-door.
RYAN: Encyclopedia-- w-what is that? [Chuckling] I was just kidding. Really?
ZEEK: That wasn't that funny.
RYAN: How do you carry them all?
ZEEK: Uh, yeah, okay. That's enough.
ZEEK: So, I mean, what are you gonna tell them about your lack of sales experience?
RYAN: I'll tell them I can assemble an M16 in 35 seconds in the dark, under fire. [Chuckles] Just kidding. I don't know. I'll say, uh-- I really look forward to this opportunity and that I'm extremely motivated-- I won't disappoint.
ZEEK: All right. Atta boy. You know, that-- you can really assemble an m-16 in under 35 seconds?
RYAN: About that.
[NEW SCENE - Kristina at home with Max, he is at the dining table.]
KRISTINA: Hi, bud. Max.
KRISTINA: I have a surprise for you.
MAX: I don't like surprises.
KRISTINA: I know you don't like surprises. Can I show you something?
MAX: I'm not interested.
KRISTINA: Three seconds. Ready? One, two, three.
MAX: They have collars.
KRISTINA: Yes, they have collars because they're dress shirts.
MAX: Okay, that doesn't make any sense. They're not dresses. And I hate that kind of shirt.
KRISTINA: I know that you hate this kind of shirt, but--
MAX: They're uncomfortable.
KRISTINA: I checked these. They're really, really soft. And I was thinking that maybe you could try one on. I kind of like the blue one, and you could wear one to the dance.
MAX: I'm not going to the dance.
KRISTINA: I know you said you didn't want to go to the dance.
MAX: I don't want to go to the dance.
KRISTINA: Max, but listen to me-- it's part of your life experience. You should go to a dance at least once.
MAX: I don't want to go to the dance!
KRISTINA: I know that you might feel a little scared or
MAX: Okay, I'm not scared! I'm not going to the dance!
KRISTINA: Don't yell at me. Don't yell at me, okay? I did something nice for you.
ADAM: [Entering.] Hey, guys.
MAX: I'm not going to the dance.
ADAM: Max, what's going on?
MAX: I'm not doing it. I'm not doing it. I'm not doing it
KRISTINA: I got him these shirts.
ADAM: Those are some nice shirts.
MAX: I'm not wearing them to the dance!
ADAM: Okay, well, you don't have to. You don't have to go to the dance.
KRISTINA: [Scoffs, puts the shirts on the table next to Max.]
KRISTINA: Whatever. You know what? Both of you, just forget it.
ADAM: You know, your mother-- hey, honey.
[As Adam follows Kristina out of the room Max tosses the shirts onto the floor.]
KRISTINA: Forget it!
ADAM: Hey, hey, hey, hey. You okay?
Honey, look, why don't we just back off the dance
KRISTINA: He is going to the dance, okay? The kid's going to the dance.
ADAM: Look, we just averted the student council crisis. Why don't we just let this one go?
[Kristina stomps her way up stairs, and slams the bedroom door shut as Adam stops at the bottom of the stairs.]
[NEW SCENE - Joel and Julia at home with the kids having dinner.]
JULIA: How was your meeting?
JOEL: Well, uh, I have an announcement. Your dad is gonna be overseeing the construction of a super-cool, huge building in west Berkeley. Isn't that awesome?
SYDNEY: Can we go see it tomorrow?
VICTOR: Can I have one of those hats with the light on it?
JOEL: Uh, yes, and soon. Yeah.
JULIA: This is-- it's really happening.
JOEL: Deal went through, and, you know, it all looks good. I just got to hire the guys and--
JULIA: Congratulations. Wow.
JOEL: Thank you.
JOEL: How was, um-- how was your day?
JULIA: [Clears throat] It was, uh, good. It was great. I made homemade pasta again--
JULIA: Although the kids have now told me that they prefer the store-bought kind. And I went to Wednesday coffee club with some of the moms.
JOEL: Mm. [Chuckles] Okay. Yeah. Like Christine and
JOEL: Okay, how was that?
JULIA: S-super fun.
SYDNEY: [To her dad.] Can I put Parmesan on your pasta?
JOEL: Yeah, yeah. Thank you. Just a little bit, though.
SYDNEY: Well, it needs a lot.
[NEW SCENE - Luncheonette, Early Morning Rebel in the studio playing "Burn Us Down". Crosby in the booth.]
AMBER: [Off screen as she approaches the door.] This with you again!
MARLYSE: Is it Cosby? Oh, is this the recording stu-- hey!
AMBER: Crosby, I
MARLYSE: Crosby Braverman!
CROSBY: No, no, no. You can't come in here!
MARLYSE: Once again, somebody from your studio has managed to block my parking spaces. Only this time, my car is in
CROSBY: You think that you're allowed to barge into my session.
MARLYSE: So I can go nowhere!
CROSBY: People pay me, so why don't you go out that exit door and leave?
AMBER: I'm calling the cops right now.
MARLYSE: I forgot. You know what this is? Call the cops. Because this is a complaint. I filed it with the city against you and
CROSBY: Okay, great! Okay, good. All right?
MARLYSE: Yeah, great. Throw it away. I got ten more. And by the way-- Whoever has the Mustang, you're being towed! You're being towed!
[Leaves the booth.]
CROSBY: Are you--
MARLYSE: You're being towed!
CROSBY: I mean, are you kidding me with this woman? I-- All right, you know what?
[He follows Marlyse out of the booth.]
[The band finished playing.]
NATHAN: [Lead singer.] How was that? [beat] Crosby?
[NEW SCENE - Marks apartment.]
SARAH: Don't drink those.
DREW: You know this is all I eat now.
SARAH: I made this for you. That's not a food.
DREW: Okay, is it safe if I walk to school alone? Am I old enough yet for that one?
SARAH: To walk to school by yourself?
SARAH: I don't know. Do you have a buddy you can hold hands with?
DREW: Here, I'll sell this.
SARAH: Great. [Hands him the bag.] Bye.
MARK: See you in a couple.
SARAH: [Sighs] How can he be mad at me that I don't want him to stay by himself in the house after he, you know-- You know.
MARK: If it was totally up to me, then I probably would've let them stay here. You know, if they want to have sex, they're gonna find a place to have sex.
SARAH: Oh, no, they're not.
MARK: And they might as well do it in a safe environment.
SARAH: No, no, they're not gonna find a place. See, this is-- how it works is I will eliminate all the available places where they could do that thing, and then
MARK: How do you eliminate all the places?
SARAH: One room at a time.
MARK: [Laughing] One room at a time.
SARAH: What time is it? I have to go.
MARK: It is about 7:00, 7:33.
SARAH: You have to go.
MARK: I have an extra period off today.
SARAH: Hank is just-- You know, so this weekend-- he Springs on me we have a job in L.A. All of a sudden on Friday.
MARK: This weekend?
SARAH: Yeah. And, uh--
MARK: But he-- he knows about the wedding.
SARAH: Well, now he does. I mean, he forgot. And, you know, really wanted me to come with him on Friday, and I-- I told him I can't.
SARAH: But if I went to L.A. And I did the job, and then-- you know, there's a bunch of flights. And maybe I could even get a flight into Santa Rosa, you know, Friday night or first thing-- the worst would be first thing Saturday morning. What would you think of that?
MARK: Here's what I think. I-- you know, you told him ahead of time. We've been planning this for months. I've been really looking forward to this.
SARAH: Me too.
MARK: I took the day off too.
MARK: I mean, this is, like-- this is our weekend.
SARAH: It's our weekend. I know. I'm sorry I asked. It's just--
MARK: That's fine. I-I just-- yeah, he--
[NEW SCENE - Crosby at Julia's place, they are in the kitchen. Julia is making a sandwich.]
CROSBY: This is what she filed with the city.
CROSBY: She calls it an official complaint, but it says "Zoning Notice" on it, so what does that mean?
JULIA: Let me take a look at it.
CROSBY: What is she trying to pull with this thing?
JULIA: Oh, gosh, Cros, let me take a look at it. In fact, I will have my colleague who deals with municipal complaints take a look at it for you. I'm sure it's no big deal.
CROSBY: I want to bury this woman. I think that I have a defamation case against her.
JULIA: She's assassinating your character?
CROSBY: Yeah, she walked in in front of clients in the middle of a session and started blasting my character. So, yeah, defamation does not seem out of the realm of possibility-- or maybe a restraining order or something.
JULIA: All right, I'm going to give you my best legal advice.
CROSBY: Okay, what is your best legal advice?
JULIA: Be nice. Do not inflame the situation any more.
CROSBY: Be nice is your suggestion?
JULIA: Do not engage this woman.
CROSBY: Not an injunction-- Or some kind of seizure--
JULIA: No, absolutely not.
CROSBY: Or vacate the prem--
JULIA: Do not talk to her. And if, perchance, you encounter her, just be nice to her. What does Adam say about it?
CROSBY: He doesn't say anything, because I'm handling this. I'm gonna handle it like I handle my business.
[Julia hands Crosby the finished sandwich.]
CROSBY: Thank you. Do you have any milk, by chance?
[NEW SCENE - Night time. Kristina in the living room eating as Adam enters.]
ADAM: Nora's asleep.
KRISTINA: Thank you.
ADAM: Yep. Really?
ADAM: You finished it all?
KRISTINA: I did. And it was really good.
ADAM: So insensitive.
KRISTINA: My mouth is so dry lately, so--
ADAM: Hey-- Can we talk about this dance?
KRISTINA: Sure. What do you want to talk about?
ADAM: Okay, so let's consider our options.
ADAM: We could reconsider-- Allowing Max not to go-- let him off the hook. Or we could still push him to go-- In which case, I want to say-- There will be more dances, Kristina. And there's plenty of time for that. Come on.
KRISTINA: I feel very optimistic about everything. I do. But I also feel like, and I just want to be honest with you-- I don't know how much time-- [Starting to cry.] There is. None of us do, you know?
KRISTINA: I don't want to miss out on any milestones. That's all. Okay.
KRISTINA: Thank you.
ADAM: Come here.
[NEW SCENE - Same time. Joel is talking on the phone while Julia sits on their bed.]
JOEL: Yeah, Tuesday. Yeah, listen, you and Farnsworth can commute. Yeah, you just get on the back of his motorcycle. All right, buddy. I'll see you then. Bye. [Ends the phone call.] Mcshane and Kyle, by some miracle or act of God, are-- are both free and are starting Tuesday.
JULIA: That's great.
JOEL: It is really great. Thank you for your enthusiasm.
JULIA: No, you know what? Honestly, I just can't believe that you said yes the same day that we agreed Victor's our priority.
JOEL: Victor is our prior-- wait. I'm sorry. I'm sorry, what-- is that what this is about?
JULIA: We have so much going on in building this relationship, and it's fragile, and you're bailing on us.
JOEL: Wait. I'm bailing on the family?
JULIA: That's what I feel like!
JOEL: Is that what you feel like?
JOEL: Julia one of us has to make money!
JULIA: And I think you should get your priorities straight. That's what I'm saying.
JOEL: Are you kidding me? Wait. I'm sorry.
JULIA: I'm not kidding you at all. I feel like this is
JOEL: I don't understand. Have I ever-- in the history of our lives together, have I ever told you not to take a job or a case or
JULIA: Well, no, but
JOEL: Even skip out on lunch with the partners?
JULIA: No, but that's not
JOEL: Have I ever once asked you to just not read briefs while we're on vacation or dock less hours?
JULIA: I'm talking about right now.
JOEL: No, I have never asked you that! I have never asked that of you, because you know why? I respect you. I thought that you could work and still be a parent. And I wish you could just pay me that same courtesy.
[Joel leaves the bedroom, a door can be heard as it slams shut.]
[NEW SCENE - Laneway at the back of the Luncheonette.]
CROSBY: Hey. Thank you for, uh, meeting me out here. I think we got off on the wrong foot, and I would love to start over, if you're open to it. I made you a basket here with some CDs from artists that have recorded at the luncheonette over the last 50 years. And there's also some wine and local cheese and crackers and whatnot, some scones. Look, um--
MARLYSE: [Clears throat]
CROSBY: I-I would like to sincerely apologize for the behavior of the musicians hanging out in the--
MARLYSE: You have a lot of nerve-- Coming over here, bringing a basket of things, when you've done nothing at all to address the noise and the litter coming from your building. Do you know how much I paid for my condo?
CROSBY: No, how much did you pay--
CROSBY: Congrats. 900,000? Wow. Just shy of a million, wow.
MARLYSE: I do not pay a $900,000 mortgage so I can finance musicians' parking and pick cigarettes out of my plants!
CROSBY: Okay, do you know where you moved? To the Haight in San Francisco. This isn't Connecticut. This place was made famous by pot smokers and acid takers and free love and the hells angels.
CROSBY: You're freaked out 'cause you can't get your big, cumbersome range rover in and out of your parking spot? Are you kidding me? You need to move!
MARLYSE: Get away from my property!
CROSBY: Okay, I will, I will.
MARLYSE: Also, by the way--
CROSBY: What? [She throws the CDs over the fence.] Oh, very classy.
MARLYSE: Don't have any use for those.
CROSBY: No, but take the wine.
MARLYSE: I will!
CROSBY: God knows you don't make enough money to buy your own bottle.
[NEW SCENE - Rizzoli Photography. Hank is working at his desk when Sarah enters.]
HANK: What's up? Hey.
SARAH: I got coffee and, um, lemon poppy seed muffins. Do you want one?
HANK: From who, the weird guy with the glasses?
SARAH: No, from the other place.
HANK: The good place? You went out of your way.
SARAH: It's not out of the way.
HANK: It's, like, half a mile.
SARAH: It's, like, a couple blocks.
HANK: At least a quarter of a mile.
SARAH: All right, I went out of my way.
HANK: Thank you. Cool. I might just eat the top again. You know how that is.
SARAH: Sure. [Sighs] I can't go to L.A. I'm sorry. I--
HANK: Boyfriend said no?
HANK: He's my fiancé. He didn't say no. It's just not right. We had this plan. And, you know, I can't break it.
HANK: No, you're right.
SARAH: I mean, do you have to go this weekend?
SARAH: Do you have a plan "B"?
HANK: No, no. I got to go this weekend. She already-- my ex-wife called. She made a-a down payment on the apartment already.
SARAH: Where? In Minnesota?
HANK: Didn't even tell me about it. Yes.
SARAH: How can she do this? I don't even understand. How-- is she kid--
HANK: She does it. She can do it.
SARAH: She can just take her out of the state?
SARAH: What does the lawyer say?
HANK: The lawyer said it's a slam dunk.
SARAH: How can it be a slam dunk to take a child away--
HANK: I don't know. But that's what she does.
SARAH: From her father?
HANK: I know. I'm sending an email now back to the guy, but-- This is how she does it! Ah, I'm just going this weekend. I got to go.
[Hank types on his computer.]
SARAH: The rehearsal dinner's Friday night.
HANK: I get it. I got to-- Don't worry about it.
[NEW SCENE - Amber's apartment, Ryan is inside waiting when the door opens.]
AMBER: Hi, buddy.
AMBER: How are you?
RYAN: [They kiss.] Mwah. Good.
AMBER: Good. Hey, so-- How'd the interview go?
RYAN: It went.
AMBER: What does that mean?
RYAN: It means, uh, guy looks at me and goes, "Oh, wow, you were in Afghanistan? You ever kill anybody?" [Chuckles]
AMBER: Oh, my God, are you serious?
RYAN: Yeah. I just looked at him. I was like-- I mean, I didn't know what to say. You know, I just--
RYAN: And that was the end of that.
AMBER: Well-- Who would say that? What kind of idiot? I mean--
RYAN: It's no big deal. There'll be--
AMBER: No, it is. It's a huge deal. I mean, after all you've been through, to just say something that's just-- [sighs] I'm sorry.
[Amber kisses Ryan on the neck as she hugs him.]
RYAN: Um, I'm gonna take-- I'm gonna take a walk real quick.
AMBER: Well, I'll come with you.
RYAN: No, no, no, no, no, no. I'll be back in a little bit.
AMBER: Ryan, are you sure?
[NEW SCENE - Julia and Joel in their living room.]
JULIA: I do-- hey. I do respect you. I don't want you to ever feel anything other than that from me-- Ever.
JULIA: Okay. Sorry.
JOEL: Thank you.
JULIA: It's just this whole time since I've left work, I've been just overwhelmed or bored out of my mind. I'm not cut out for this stay-at-home-mom thing. I'm not fulfilled by it-- You know? That sounds so bad. I'm a terrible person.
JULIA: Of course you're not a terrible person. You got free time for the first time ever. So just-- Give yourself a break. Just-- Maybe enjoy it a little.
JOEL: Try to enjoy it a little?
[NEW SCENE - Max'sroom, he's making a model plane at his desk. Adam knocks at door.]
ADAM: Max. I have a book for you about World War II fighter pilots that you have not read.
ADAM: You're welcome. Putting together a fighter?
MAX: Yep. [Focused on his work.]
ADAM: Hey, did you think anymore about that dance?
MAX: I'm not going.
ADAM: Your mom really wants to see you go. And because she's sick, we're gonna do some things for her that we don't always want to. It's just part of being grown up-- Doing something for somebody else, doing things for other people.
MAX: I don't like doing things for other people.
ADAM: It's hard for you to think about other people. I know that. But I need you to, just this once. I want you to go to this dance for your mom. And that's just the way it is. Did you hear me?
MAX: Yeah, I heard you.
ADAM: And you're going to go to the dance?
ADAM: Is that a yes?
[NEW SCENE - Luncheonette. Adam's office.]
CROSBY: You said and I'm quoting: "That it's probably no big deal."
CROSBY: But this looks like a big deal.
JULIA: Yes, I cannot classify it as no big deal.
CROSBY: Well, how do you classify it? What does this mean?
JULIA: Cros, this building was built--
CROSBY: This historic landmark building?
JULIA: This historic landmark building was built in a residential zone. And I have no idea how it hasn't come up until now, but--
CROSBY: Well, isn't there, like, a statute of something, or eminent do-- I mean, we've been here forever.
JULIA: That does work in your favor, and you do have a case. But angry neighbor lady does have a leg to stand on here.
CROSBY: [Putting his face into his hands.] Oh, my God, this is not happening to me right now.
JULIA: She has homeowners rights, and she-- She could shut you down.
CROSBY: We cannot put this on Adam's plate.
JULIA: I think he has to know about it.
[NEW SCENE - Braverman kitchen, Zeek is at the blender.]
AMBER: Yoo-hoo. [She knocks on the back door.]
ZEEK: Yeah, come in!
AMBER: Is that a protein shake I hear?
ZEEK: Uh-huh. Hey, granddaughter.
ZEEK: You come in here. How are you?
ZEEK: [Kissing her on the cheek.] Mm. Hi, sweetheart.
AMBER: Good to see you.
ZEEK: Yeah, you too. So, tell me, how's it going? How's everything?
AMBER: Pretty good.
AMBER: Yeah, um-- Hey, I wanted to-- Um, I-I think you already know about me and Ryan.
AMBER: I just wanted to say thank you for introducing me to him, because he's-- Really great.
ZEEK: Yeah, he's a good kid. Well, how'd the job interview go? Did he land it?
AMBER: No. And-- I don't know. It-- The guy started, like, asking him all these rude questions, like, about his past. And I tried to talk to him about it, and it-- I don't know-- it seemed like I made it worse or something and--
ZEEK: Yeah. Well, he got rejected, right? I mean--
AMBER: Yeah. I guess the other thing is-- That I feel worried. So you know how, like, last weekend we went to a funeral of one of his friends from his unit?
AMBER: And the guy had committed suicide. And something happened there, and Ryan got really upset and-- Um-[Getting emotional] It was just scary, and I-- I guess I'm surprised at-- How much it hurts me to see him in so much pain or something.
ZEEK: [Sighs then sits next to Amber at the kitchen island.] He's been to war, sweetheart. And war is a place where you-- Where you lose who you were. And then if you get back, you don't have any idea of who you-- Who you are. And you're scared to death of what you might become.
AMBER: [Crying] Yeah. I just wish I could help him or something.
ZEEK: Give it time, babe. Okay?
AMBER: [Crying] Okay.
[NEW SCENE - Marks apartment, he is watching TV as Sarah enters carrying a bag of groceries.]
SARAH: They didn't have, um, shrimp this time, so I got scallops. Will that be weird?
MARK: Oh, no. That's good. I love scallops.
SARAH: Good. [Sighs]
SARAH: All right. Hi.
MARK: How are you?
SARAH: Good. [They kissing.] So, um, look, I-- I just can't figure out, um-- A way not to go to L.A. On Friday. But I think, um, what I can figure out is coming back that night.
MARK: Wait. Wait, wait. What are you talking about?
SARAH: Well, this job in L.A--. it's just turn in-- it's turning into this very complicated thing, and Hank does really need me there. And I-- if I-- I checked the flights, and there's an L.A.X. to Santa Rosa that would get me in
MARK: Wait. I don't understand. You-- you-- didn't-- I thought we talked about this.
SARAH: We did.
MARK: You-- right. And you were gonna go tell him that you couldn't go
SARAH: I did.
MARK: 'Cause we've been planning this for months, and you gave him a--
SARAH: I know. I just feel like there might be a way to split the difference so that I can be there for the job and then also have our weekend. It's just-- it only cuts into it a little bit.
MARK: It cuts it in half. I don't understand. He can't live without you for two days? What's his deal?
SARAH: I don't totally understand either. But it's just-- it's become this very complicated thing, and I feel obligated to him to work, and he's also got this really messed-up personal situation where
MARK: I don't care!
SARAH: Okay, well, I mean--
MARK: I don't care.
SARAH: I'm just trying to help somebody out. You know, we'll still have our wonderful weekend.
MARK: We won't! We've been planning this for months, and then he says, "I need you," and all of a sudden, you go and do what he wants you to do?
SARAH: No, it's not like that.
MARK: You're picking him up in the middle of the night, drunk
SARAH: That doesn't happen all the time. That happened that one time.
MARK: No, but he-- right. Well, you're putting him above me.
SARAH: No, I'm not! No, I'm not.
MARK: Yeah! We planned this for months. You said you were gonna go. And then he gives you a sob story, and then you--
SARAH: It's just I'm trying to do my job too! This is not a shift at the restaurant that I can just take off, okay?
MARK: But you gave him--
SARAH: I know, but there was a complication. Something came up. It's work.
MARK: All right.
SARAH: And all I'm trying to do is do both-- I'm trying to make everybody happy.
MARK: Don't-- just don't bother.
SARAH: No, I want to go. I'm going to be at the wedding.
MARK: Just go to L.A. You're not. You're not gonna go to the wedding. Don't bother, okay?
SARAH: Mark, don't say that.
MARK: Seriously, don't bother. It doesn't-- you-- tell him you're free all weekend.
[Mark goes to the bedroom and slams the door shut.]
[NEW SCENE - Max at home walking into the living room wearing one of the shirts Kristina bought.]
KRISTINA: [Doesn't look up.] Hi, bud. Just getting this stuff together. [Laughs a little seeing him.] Hi.
MAX: Dad said if I went for 30 minutes, he would take me home, so that's what I'm gonna do.
KRISTINA: That sounds like a-- a plan to me. I like the blue shirt. It's very presidential. I know that you, um, you don't like dances, so--
MAX: No, I-I don't.
KRISTINA: But tonight if you get the urge to dance, I want you to walk up to a girl, and I want you to look her in the eye, and I want you to say, "Hi, I'm Max Braverman, your president. Would you like to dance with me?"
MAX: And if she says no?
KRISTINA: In the highly unlikely situation that she says no, you say, "Thank you very much. Maybe next time." And you walk away.
MAX: And if she says yes?
KRISTINA: Can I show you? I'm pretty good. I haven't done it in a while, but-- I've got some moves, you know, from back in the day.
[Kristina puts on some music play Embraceable You" by Jimmy Scott
KRISTINA: [Sighs happily] Okay. You ready? You walk up to a girl. "Would you like to dance?" Try that.
MAX: Would you like to dance?
[Adam is seen watching from the other room.]
KRISTINA: I would love to dance. Lift up this arm, okay? On the shoulder. There you go. Relax a little. Okay? This arm out. And you just listen to the music, okay? And as you're listening to the music, just let your feet move. There you go. Okay? How does that feel? Good?
KRISTINA: [Chuckles] And smile a little.
[They continue to dance as Adam watches.]
4.09 - You Can't Always Get What You Want
Original Airdate (NBC) November 27, 2012
Written by Bridget Carpenter
Directed by Lawrence Trilling
Transcribed by Craig Best
Original subtitles from www.addic7ed.com
Please Don't Use Without Permission!
This is a transcript of the aired episode that includes accurate word-to-word dialogues, some settings have been added where needed along with actions and/or camera movements where I felt they were necessary. "PARENTHOOD" and other related entities are owned, their respective companies and no copyright infringement is intended..
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