THE ROAD HOME
HUBBARD STREET
BY
HENRIETTE MOUSTAKIS
TEASER
FADE IN:
INT. FRANK'S LIVING ROOM. NIGHT
FRANK, LOTUS, BLOSSOM and MAYLING HOCKENBERRY are playing Monopoly. Frank rolls, moves and lands on Boardwalk.
LOTUS HOCKENBERRY
Boardwalk. Hand it over.
FRANK HOCKENBERRY
(grabbing money)
Where'd you learn to be so vicious?
LOTUS HOCKENBERRY
You taught me. Pay up.
He starts to pay but doesn't have enough.
FRANK HOCKENBERRY
I'm short.
LOTUS HOCKENBERRY
Then sell some property.
FRANK HOCKENBERRY
I only have two. Okay?
(sees value)
Ah oh, not enough. That's it. I'm out.
LOTUS HOCKENBERRY
Give it to me.
FRANK HOCKENBERRY
Can't you give me a break?
LOTUS HOCKENBERRY
No way. Pay up.
FRANK HOCKENBERRY
(giving property and money)
Remind me never to teach you poker. You're a snake.
LOTUS HOCKENBERRY
I had a good teacher.
FRANK HOCKENBERRY
(looks at clock)
Oh look, bed time.
LOTUS HOCKENBERRY
Not now. I'm on a hot streak.
FRANK HOCKENBERRY
No arguments, young lady. You pack up your pieces and go upstairs.
She does and leaves the table. Frank carefully grabs the board and moves it to a different table.
FRANK HOCKENBERRY
I wish I weren't such a good teacher.
MAYLING HOCKENBERRY
Don't blame me.
He looks at her as she puts the table away. He walks up behind her.
FRANK HOCKENBERRY
May?
MAYLING HOCKENBERRY
Yes?
FRANK HOCKENBERRY
I'd like to thank you for letting me stay here these two weeks. I know I promised to get a room, but I haven't gotten around to it.
MAYLING HOCKENBERRY
It's your house. You pay the bills.
FRANK HOCKENBERRY
These past few weeks have been like the old times. The babies are eating. The girls leave their room. I only have one problem, Andrew. He seems to have married his guitar.
MAYLING HOCKENBERRY
He needs time. You can't expect miracles.
He puts his arms around her from the back and starts to kiss her neck.
MAYLING HOCKENBERRY
No.
(pulling arms away)
I can't.
FRANK HOCKENBERRY
Is it the inquest?
MAYLING HOCKENBERRY
It's you.
FRANK HOCKENBERRY
I really messed up here. Don't wait up for me. I'll be reading downstairs.
She walks away not looking back.
FADE OUT:
END OF TEASER
ACT ONE
FADE IN:
SCENE ONE
EXT. BACK PORCH. NIGHT -- CONTINUOUS
Frank sits on the back steps. Andrew and Mayling can see him from Andrew's open window.
FRANK HOCKENBERRY
(praying)
Hey, God. It's me, Frank. Remember me? I know it's been awhile but I've had alot on my mind. I don't have to tell you I really messed up. You can see that. Even with all the personal help you sent me, I still screwed up. I've ruined my life. Everyone I love doesn't love me back. I don't think they ever will. My dad tells me I ruined their sense of trust, and that I'll have to work very hard to get it back. I've done everything I can. What more can I do?
He starts crying slowly.
FRANK HOCKENBERRY
You know, God. I've been thinking. Me thinking, what a concept? I know my body is in bad shape, and it's all my fault. I'm not blaming you or anyone else. I'm an idiot for doing it to me. I've been thinking. Maybe tonight, or some time soon, you could send Andrew to take me home? All I'm asking is for a heart attack when I'm asleep. It's not like anyone will miss me. I just want to go to sleep and never wake up. Is that too much to ask? I'd do it myself, but I'm too much of a coward.
You've done it before with me, three times. Each time you changed your mind. This last time would be final. You think you could do that? You really should of the last time. At least if I died then, I would still be loved. Now my family doesn't give a damn. If you really loved me, you'd do this. I don't want to be here alone anymore. I want to go home to you.
(crying)
You're the only one left who still loves me.
CUT TO:
SCENE TWO
INT. ANDREW'S ROOM. NIGHT
Frank starts sobbing. Mayling and Andrew close the upstairs window. Andrew is moved but Mayling isn't.
ANDREW HOCKENBERRY
What do we do, mom? He really wants to die.
MAYLING HOCKENBERRY
I can't tell you what to do. You're an adult now. What you do is your own affair.
ANDREW HOCKENBERRY
How can you be so cold? If it weren't for him you'd be on your back right now. You might even be dead.
MAYLING HOCKENBERRY
I realize that. He did me a favor. But he's destroyed my trust in him. It will take more than a prayer to restore it.
ANDREW HOCKENBERRY
This is the first time since the attack he's prayed. Doesn't that count for anything?
MAYLING HOCKENBERRY
It's not enough.
She walks out. Andrew opens up the window. Frank has stopped crying and is sitting quietly. He feels a hand on his shoulder. It is TESS the Angel. He turns and sees her. Andrew also sees her.
TESS - ANGEL
Hello Frank.
FRANK HOCKENBERRY
Hello Tess.
TESS - ANGEL
He's heard your prayer and he's sent me with an answer. The answer is one word, NO. He will not take you before your time. He can't stop YOU from doing it but you'll get no help from him.
FRANK HOCKENBERRY
I didn't think he would. It's not his style. He always takes you when you don't want to go, not when you do. Well, it was worth a try.
TESS - ANGEL
What will you do next?
FRANK HOCKENBERRY
I have to move out. I've delayed it long enough. After that, I don't know. And as far as my family is concerned, they don't even care. I could drink myself to death in one sitting but I don't have the heart for it.
TESS - ANGEL
And the gun upstairs?
FRANK HOCKENBERRY
Will stay upstairs. I won't take it with me. It's just as easy to be a zombie. I don't need to be drunk for that.
TESS - ANGEL
Frank, God wants you to go on.
FRANK HOCKENBERRY
(standing)
You can tell your boss I will.
(walking to door)
Who knows? Maybe he'll change his mind.
He goes in quietly. Tess looks up.
TESS - ANGEL
Father, let him find his peace soon.
Andrew closes the window.
CUT TO:
SCENE THREE
INT. FRANK'S INTERIOR OFFICE. DAY
He is at his computer working as ZEK ANDERSON enters.
FRANK HOCKENBERRY
(looking up)
Hello Zek.
ZEK ANDERSON
Hey Frank. I have this month's budget. I did it early since I have alot to do lately.
FRANK HOCKENBERRY
Thank you. I appreciate it. You're one less person to track down.
ZEK ANDERSON
I also came to ask you a favor.
FRANK HOCKENBERRY
That's a switch. Ask away.
ZEK ANDERSON
The state has sent an investigator. He's been asking questions about my parenting ability. He's interviewing everyone. Your family is on the list.
FRANK HOCKENBERRY
This really means alot to you.
ZEK ANDERSON
Yes, it does.
FRANK HOCKENBERRY
I'll talk to him. Don't worry. By the time I get through, they'll be giving you MY children.
There is a knock and a young woman enters. She is JULIA THOMPSON.
JULIA THOMPSON
Which one of you is Frank?
FRANK HOCKENBERRY
I am. Can I help you?
JULIA THOMPSON
Personnel sent me.
(shaking hands)
I'm Julia Thompson, your new assistant.
ZEK ANDERSON
Assistant?
FRANK HOCKENBERRY
I got the memo yesterday. Seems I'm an important man here. Maybe it's because I make sure the bills get paid. Well, Julia, meet Mr. Anderson. He's one of our longstanding caseworkers. He's already given me his budget.
JULIA THOMPSON
(shaking Zek's hand)
Hello Mr. Anderson.
ZEK ANDERSON
Call me Zek.
JULIA THOMPSON
(to Frank)
Where do I begin?
FRANK HOCKENBERRY
(grabbing some files)
Here are some budgets. You could start by typing in some figures and creating a pie chart. I'll be out there in a minute. Sorry about the location of your office. I'll try and keep the door open between us.
She leaves.
ZEK ANDERSON
They won't give me an assistant. You've really made it big. You must really be important.
FRANK HOCKENBERRY
This is the only place I am.
ZEK ANDERSON
I take it you've moved out?
FRANK HOCKENBERRY
Yesterday. I gave it the old college try. They don't want me. I really screwed up this time.
ZEK ANDERSON
I'm sorry Frank.
FRANK HOCKENBERRY
Not as sorry as I am. Look, Zek, I don't mean to rush you out. I should be with my...assistant.
ZEK ANDERSON
I understand.
(walking to door)
They make them pretty young lately. She could be your daughter.
Frank walks to the door.
FRANK HOCKENBERRY
Don't worry about the interview. I'm not that busy to stop. Just don't bring him here Monday morning. There's a board meeting I can't skip.
ZEK ANDERSON
I understand.
(to Julia)
Nice meeting you, Ms. Thompson.
Zek leaves.
FRANK HOCKENBERRY
(to Julia)
Give me a minute and I'll get you into the system. Do you have any questions so far?
JULIA THOMPSON
I don't see the coffeepot.
FRANK HOCKENBERRY
I get the coffee from downstairs. If you want to bring one, feel free.
JULIA THOMPSON
I have one more question.
FRANK HOCKENBERRY
Ask?
JULIA THOMPSON
Are you really the Hubbard Street Angel?
FRANK HOCKENBERRY
Not anymore. Let me get you started.
He sits down and starts working.
CUT TO:
SCENE FOUR
INT. FRANK'S OUTSIDE OFFICE. DAY
Andrew walks in. He sees Julia and is surprised.
JULIA THOMPSON
Can I help you?
ANDREW HOCKENBERRY
I was looking for Mr. Hockenberry. This is still his office?
JULIA THOMPSON
Yes, it is. I'm his assistant. He'll be back in a few minutes. He's just getting coffee. And you are?
ANDREW HOCKENBERRY
His son, Andrew.
JULIA THOMPSON
Of course, I see the chin.
Frank comes in with his coffee.
FRANK HOCKENBERRY
Andrew? What are you doing here?
ANDREW HOCKENBERRY
I have business here.
FRANK HOCKENBERRY
What type of business?
ANDREW HOCKENBERRY
Nothing that involves you. Could we talk?
They approach the door.
ANDREW HOCKENBERRY
Could we close the door?
FRANK HOCKENBERRY
If you'd like?
They go in. Julia can still hear them clearly. She stops her work and listens.
CUT TO:
SCENE FIVE
INT. FRANK'S INTERIOR OFFICE. DAY -- CONTINUOUS
Frank sits on the desk while Andrew sits in a chair.
FRANK HOCKENBERRY
Tell me what's on your mind.
ANDREW HOCKENBERRY
I came here to apologize. I've been a real ass. When you left us, I became angry.
FRANK HOCKENBERRY
Everyone was angry.
ANDREW HOCKENBERRY
When you came back, I spent two weeks in my room playing guitar.
FRANK HOCKENBERRY
I noticed. I kept wondering why you spent so much time rehearsing.
ANDREW HOCKENBERRY
I wasn't rehearsing. I was avoiding you. We all were. Instead of trying to work things out, we ran away from you.
FRANK HOCKENBERRY
You had your reasons.
ANDREW HOCKENBERRY
They were wrong reasons. Remember that day in the park when you told me I was your idol? I know I didn't say it but you are mine. You always have been. The man you became had nothing to do with you. It was the booze. Dad, could you stand up for this?
They both do.
ANDREW HOCKENBERRY
I should have said this last week. I love you.
Franks puts his hands on Andrew's shoulders.
FRANK HOCKENBERRY
I can remember having to bend down to see your face. Now we're nose to nose. You're all legs. Where did they come from?
ANDREW HOCKENBERRY
Your DNA. I love you, Dad.
FRANK HOCKENBERRY
I love you too.
Andrew hugs him.
ANDREW HOCKENBERRY
What's with the assistant?
FRANK HOCKENBERRY
It wasn't my choice. The board felt I needed help.
ANDREW HOCKENBERRY
Careful she doesn't take your job instead.
FRANK HOCKENBERRY
Son, just because I'm not at home anymore doesn't mean I won't be there for you. I'm only a phone call away. I've left my number with your mother and you can always reach me here.
ANDREW HOCKENBERRY
There's no chance you and mom will make up?
FRANK HOCKENBERRY
I don't think so.
ANDREW HOCKENBERRY
Will you divorce?
FRANK HOCKENBERRY
I'll do whatever she wants. If there is one, it won't come from me.
ANDREW HOCKENBERRY
Well, I have to go.
They walk to the door.
FRANK HOCKENBERRY
It was good seeing you.
Andrew leaves. Frank leaves the door open. He sees Julia grab her purse.
FRANK HOCKENBERRY
Where are you going?
JULIA THOMPSON
Lunch. You do eat?
FRANK HOCKENBERRY
(looking at watch)
Already? Go ahead. I'm eating in.
JULIA THOMPSON
Mr. Hockenberry, you have had at least ten cups of coffee, no breaks and have left for only personal reasons. Now you eat in? Don't you think it's time you left this office?
FRANK HOCKENBERRY
You're right. Let's lock up.
They exit.
CUT TO:
SCENE SIX
INT. CAFETERIA. DAY -- MOMENTS LATER
Frank and Julia are in line. One employee sees him and turns, Andrew. They approach him.
FRANK HOCKENBERRY
Excuse me, could we have some service?
ANDREW HOCKENBERRY
(turning)
Yes sir?
FRANK HOCKENBERRY
Andrew? How long have you been here?
ANDREW HOCKENBERRY
I started today. It's a summer job.
FRANK HOCKENBERRY
But why the kitchen? The board has approved three business internships. One was in Zeks' department.
ANDREW HOCKENBERRY
I refused them. Someone more deserving should get it. I wanted to do this on my own. What can I get you sir?
FRANK HOCKENBERRY
(looking at choices)
It's either tuna or mystery meat.
ANDREW HOCKENBERRY
Mystery meat isn't that bad.
FRANK HOCKENBERRY
The dogs won't even eat it.
ANDREW HOCKENBERRY
I added a few things.
FRANK HOCKENBERRY
Give me the tuna.
ANDREW HOCKENBERRY
(giving him sandwich)
Here you go sir. Anything else?
FRANK HOCKENBERRY
Some foil.
ANDREW HOCKENBERRY
Sure.
(to Julia)
What would you like?
JULIA THOMPSON
I'll try the mystery meat.
FRANK HOCKENBERRY
You'll be sorry.
They move on. Andrew turns to the next person. They continue to the register and sit down. Frank stares at her plate.
JULIA THOMPSON
What's wrong?
FRANK HOCKENBERRY
I can't wait. Taste it.
She takes a bite.
JULIA THOMPSON
MUMM! It's really good.
FRANK HOCKENBERRY
Really?
She cuts a piece and puts it on his plate.
JULIA THOMPSON
Try it.
FRANK HOCKENBERRY
(eating)
You're right. It doesn't taste like sandpaper anymore.
JULIA THOMPSON
Your son is a miracle worker.
FRANK HOCKENBERRY
Runs in the family. My father was a chef in Germany before the war and my wife is an expert on spices.
JULIA THOMPSON
What about you?
FRANK HOCKENBERRY
I never learned. For ten years, I didn't even eat. Before you ask, it's a long story.
He takes half his sandwich and wraps it in foil.
JULIA THOMPSON
Why are you doing that?
FRANK HOCKENBERRY
Dinner. I live in a men's residence. There's a small kitchen. You really can't cook.
JULIA THOMPSON
You're going to survive all day on a tuna fish sandwich?
FRANK HOCKENBERRY
I have peanut butter and jelly in the cupboard.
JULIA THOMPSON
Frank, you know how in the grocery stores food is always packaged for two and up?
FRANK HOCKENBERRY
Yes?
JULIA THOMPSON
Every time I make a meal I'm eating it for days. Next time, I'll bring it here. At least it will be fresh and more healthier than tuna fish.
FRANK HOCKENBERRY
You don't have to feed me. I can feed myself.
JULIA THOMPSON
Just because you and your wife are separated doesn't mean you have to stop eating. Please say yes.
FRANK HOCKENBERRY
I'm old enough to be your father and you're taking care of me? Shouldn't it be the other way around?
JULIA THOMPSON
If we're going to work together, we need to take care of each other. Right, dad?
FRANK HOCKENBERRY
Okay? But I'm not defenseless.
JULIA THOMPSON
(taking his hand)
I never said you were.
Frank looks up and sees Andrew watching. He retracts his hand.
FRANK HOCKENBERRY
Your food is getting cold.
He goes back to his food.
CUT TO:
SCENE SEVEN
INT. CAFETERIA. DAY - MANY MEALS
This next set of shots are a montage over two weeks. Frank and Julia eat while Andrew watches in the distance. Each time, the pair get closer. Frank still maintains his professional distance but she is obviously attracted.
CUT TO:
SCENE EIGHT
INT. CAFETERIA. DAY
One GIRL sits eating her lunch as another girl called MARY ANN comes by with her tray. Her skirt is so short when she leans down her underwear shows. Andrew is at the next table cleaning up. He catches the show. His BOSS disapproves. Mary Ann sits. Frank and Julia walk by and approach the line.
GIRL ONE
There they are again, Romeo and Juliet.
MARY ANN
When will she get it?
Andrew turns his back and continues picking up some dishes and listens.
MARY ANN
You know she cooks for him. I've heard of kissing up to the boss but that's too far.
GIRL ONE
She's in love with him. Just look at her eyes. Only, he doesn't know she's alive. He's playing daddy.
MARY ANN
Sugar daddy if you ask me. Give him a few days, he'll be in her pants.
The boss walks over.
BOSS
Hockenberry, hurry up with those dishes.
ANDREW HOCKENBERRY
Yes sir.
GIRL ONE
What did you call him?
BOSS
Hockenberry. That's his old man over there.
MARY ANN
Ah oh.
BOSS
And he heard every word---
(looks at name tag)
Mary Ann. Do me a favor. Next time you come here, don't bend down. I don't need my male staff looking at your pink underwear.
He walks back to Andrew who is cleaning up another table.
BOSS
Hockenberry, can I ask you something?
ANDREW HOCKENBERRY
Yes sir.
BOSS
Your father is big news here. Why did you ask to work in the kitchen?
ANDREW HOCKENBERRY
He worked his way up by himself. I didn't want to ride on his name.
BOSS
I can tell you your time is short here. Monday's special is not called mystery meat anymore. We can't stock enough of it. Whatever you did, it worked.
ANDREW HOCKENBERRY
Thank you.
BOSS
(starting to walk away)
Keep up the good work. Sorry about your dad.
ANDREW HOCKENBERRY
Nothing's going on. I know him. He loves my mother.
BOSS
How old is she?
ANDREW HOCKENBERRY
I beg your pardon?
BOSS
I know men when they have problems. I've been there.
He walks away. Andrew looks at Frank and Julia who have sit down. They are laughing.
ANDREW HOCKENBERRY
No way dad. Not you.
FADE OUT:
END OF ACT
ACT TWO
FADE IN:
SCENE ONE
INT. MAYLING'S FLOWER SHOP. DAY
She is accepting a supply of flowers. The driver, PAUL SMITH, is waiting for her signature.
PAUL SMITH
This should hold you for a few days.
MAYLING HOCKENBERRY
Thank you.
PAUL SMITH
Thank you. I'll see you in a few days. Mayling, I don't want to seem forward, but I have to say this. I've been your supplier for almost two years now. I feel I know you.
MAYLING HOCKENBERRY
I feel the same way.
PAUL SMITH
This thing with Frank can't be fixed?
MAYLING HOCKENBERRY
It doesn't look like it.
PAUL SMITH
I'm sorry to hear that. You wouldn't consider having dinner with me one night?
MAYLING HOCKENBERRY
I can't. It's too early. I really don't know what I will be doing. I'm sorry.
PAUL SMITH
That's okay. I can take NO for an answer. Look, if you change your mind, you have my number. I have some more stops. See ya.
MAYLING HOCKENBERRY
Bye.
He leaves. She turns to Kate.
KATE - EMPLOYEE
I would have said yes. He's a nice guy.
MAYLING HOCKENBERRY
So is Frank.
KATE - EMPLOYEE
May, how long are you going to be in limbo? What are you waiting for?
MAYLING HOCKENBERRY
I have been with Frank close to twenty years. When you've been with someone that long, you'll understand. Start unwrapping the flowers.
Mayling walks away.
CUT TO:
SCENE TWO
INT. FRANK'S LIVING ROOM. NIGHT
Mayling walks in. Andrew is playing the guitar and looks up.
ANDREW HOCKENBERRY
Hi, mom.
MAYLING HOCKENBERRY
Any mail?
ANDREW HOCKENBERRY
It's on the table. There's one from Gunther.
MAYLING HOCKENBERRY
Did you read it?
ANDREW HOCKENBERRY
No. It was addressed to you.
She picks it up and opens it. He puts down the guitar.
ANDREW HOCKENBERRY
What is it?
MAYLING HOCKENBERRY
Well, I'll be damned. It's an invitation. Your grandfather is getting married in two weeks.
ANDREW HOCKENBERRY
To whom?
MAYLING HOCKENBERRY
This has to be a joke. Her name is Dolly Levi.
ANDREW HOCKENBERRY
Like the movie? Maybe you should call him. He could be flipping out. He's old enough.
MAYLING HOCKENBERRY
I'll go see your father tomorrow. He'll know what to do.
ANDREW HOCKENBERRY
I wouldn't mom.
MAYLING HOCKENBERRY
And why not?
ANDREW HOCKENBERRY
He has an assistant, a young girl. They always have lunch together. It looks like they're getting friendly. Everyone thinks they're--
MAYLING HOCKENBERRY
Having an affair? Do you?
ANDREW HOCKENBERRY
No, because I know dad. He loves you. He always will. I'll get dinner.
Andrew walks away. She puts the invitation in her purse and follows.
CUT TO:
SCENE THREE
INT. FRANK'S OUTSIDE OFFICE. DAY
Julia is at her desk. Frank gives her some more work.
FRANK HOCKENBERRY
That's the last of it. Try and have it ready by tonight.
JULIA THOMPSON
Yes, Frank.
FRANK HOCKENBERRY
Something wrong?
JULIA THOMPSON
I was thinking. Why don't I make you dinner tonight at my place?
FRANK HOCKENBERRY
I don't think so.
JULIA THOMPSON
You can't survive on leftovers and takeout all your life. Wouldn't you like a home-cooked meal?
FRANK HOCKENBERRY
I would love one.
JULIA THOMPSON
Then come.
FRANK HOCKENBERRY
I can't. It's wrong. We're wrong. It's better if we keep our relationship professional, less problems. But, thanks for the offer. I have some phone calls to make.
He goes into his office. Mayling enters. Julia sees her.
JULIA THOMPSON
May I help you?
MAYLING HOCKENBERRY
(checking out Julia)
I came to see my husband.
JULIA THOMPSON
(standing)
Frank, your wife's here?
He comes out. He is beaming. Julia looks annoyed.
FRANK HOCKENBERRY
May, is everything fine? Are the kids okay?
MAYLING HOCKENBERRY
They're fine. Could we speak alone?
FRANK HOCKENBERRY
Sure.
Mayling goes in and closes the door. Julia listens.
CUT TO:
SCENE FOUR
INT. FRANK'S INTERIOR OFFICE. DAY -- CONTINUOUS
He sits on his desk.
FRANK HOCKENBERRY
What do you need?
MAYLING HOCKENBERRY
(handing him invitation)
We got this in the mail. Tell me it's a joke.
He opens it and smiles.
FRANK HOCKENBERRY
Well, I'll be. He sure works fast. Course, at his age he has too.
MAYLING HOCKENBERRY
He is getting married?
FRANK HOCKENBERRY
(gives back invitation)
Looks like it.
MAYLING HOCKENBERRY
And his wife to be?
FRANK HOCKENBERRY
Her name is real. Remember I told you he kicked me out? She's why. They started dating before I came. One morning I went into the bathroom and there she was. She spent the night. That's why I left. He said, "I cramped his style."
MAYLING HOCKENBERRY
What is she like? When did they meet?
FRANK HOCKENBERRY
She's a nice lady. They met at a bingo hall. Well, are you going? I have too. He is my dad.
MAYLING HOCKENBERRY
Of course. It's short notice but Kate can handle the shop.
FRANK HOCKENBERRY
Julia can handle the office. Do we bring the kids?
MAYLING HOCKENBERRY
Not the babies. They're too young to travel. I wouldn't even bring the girls.
FRANK HOCKENBERRY
I'll ask Zek if he can take the girls.
MAYLING HOCKENBERRY
I can ask the sitter to stay at the house with the babies. Speaking of babies, you could have changed your assistant's diapers. They're making them younger lately.
FRANK HOCKENBERRY
They're not making them younger. We're getting older. You realize the remaining Beatles are grandparents. I still remember them on Ed Sullivan. We could bring Andrew if he wants to come. He'll have to talk to his boss. I won't. He wants me to stay out of the kitchen. I cramp his style too.
MAYLING HOCKENBERRY
How will we do this?
FRANK HOCKENBERRY
It's in two weeks. We can drive down on Friday, spend time with dad, see the wedding on Sunday and drive back Monday.
MAYLING HOCKENBERRY
Where will we stay?
FRANK HOCKENBERRY
Dad's house. He has three bedrooms. You and Andrew take two. Dad can have his and I'll take the couch. It wouldn't be the first time.
MAYLING HOCKENBERRY
Won't Gunther ask why?
FRANK HOCKENBERRY
No. You see, I never told him I moved. Once he knows, he'll understand.
MAYLING HOCKENBERRY
Frank, we need to talk. We can't go on like this. We have to start making decisions.
FRANK HOCKENBERRY
What do you suggest?
MAYLING HOCKENBERRY
After the wedding, we start making it legal. There's no use for BOTH of us to live in limbo. We need to go on with your lives.
FRANK HOCKENBERRY
I suppose you mean separately?
MAYLING HOCKENBERRY
Yes.
FRANK HOCKENBERRY
I want to make one thing perfectly clear. This is YOUR decision, not mine. I came back with the intention to work it out. But, if you don't want to, I'll understand. Are you talking divorce?
MAYLING HOCKENBERRY
I don't know. Probably.
FRANK HOCKENBERRY
Then I won't fight you. I love you too much for that. You deserve your freedom.
He starts to break down.
FRANK HOCKENBERRY
We'll have to be very careful. The last thing we need is anger. I don't want the kids to suffer.
MAYLING HOCKENBERRY
I don't either.
FRANK HOCKENBERRY
Like I said before, if you ever need me, I'm only a phone call away. I don't want us to be enemies. You can have the house. Sorry but the car is mine. It's so old it's being held together with spit. I wouldn't feel safe with you driving it. You should get a new one anyway.
MAYLING HOCKENBERRY
What about the kids?
FRANK HOCKENBERRY
I'll agree to your terms. It's important they feel loved. As for the wedding, I'll call you next week. We can make plans then.
MAYLING HOCKENBERRY
What do we tell Gunther?
She walks to the door and leaves closing it behind her.
CUT TO:
SCENE FIVE
INT. FRANK'S OUTSIDE OFFICE. DAY -- CONTINUOUS
Mayling exits the outer office. From the inside Julia can hear him crying quietly. A few minutes later, he comes out. Julia pretends to work.
JULIA THOMPSON
Can I help you, Frank?
FRANK HOCKENBERRY
I've been thinking. Is that dinner offer still on?
JULIA THOMPSON
Yes.
FRANK HOCKENBERRY
I'll see you at seven.
He goes back to his office and closes the door.
CUT TO:
SCENE SIX
INT. FRANK'S INTERIOR OFFICE. DAY -- CONTINUOUS
He goes to the phone and dials.
FRANK HOCKENBERRY
Is this the Heavenly Bingo Palace?... Is Raphael there?...I'm sorry to hear he left. I thought he loved bingo?...Yes, you can help me. I'm looking for Gunther Hockenberry, or Mrs. Dolly Levi. Are they there?...Thank you. I'll wait...Hey, Dad! It's me, Frank. We got your invite today. We're coming... Me, May and maybe Andrew. We'll drive in Friday. Saturday we can hit a strip joint if you want. It's your last night as a single man. Just bring your pacemaker...It's a joke, dad. I'll call you before we leave...Bye, dad. Give Dolly our love.
(hangs up)
At least someone is happy.
CUT TO:
SCENE
INT. MAYLING'S FLOWER SHOP. DAY
She is accepting another delivery. Paul walks up for his signature.
PAUL SMITH
Here you go, Mayling.
She signs it.
PAUL SMITH
Have you thought about my dinner offer?
MAYLING HOCKENBERRY
Yes, I have and I accept.
PAUL SMITH
For real?
MAYLING HOCKENBERRY
Yes real. Andrew can babysat.
PAUL SMITH
I'll pick you up at seven.
MAYLING HOCKENBERRY
That's fine.
PAUL SMITH
I better go to my next stop. Wear something nice. A French place opened up by me. I've been dying to try it.
MAYLING HOCKENBERRY
French? That sounds expensive.
PAUL SMITH
I can afford it. You're one of my best customers. See you Saturday.
He leaves. She turns back to Kate.
KATE - EMPLOYEE
Well, it's about time.
MAYLING HOCKENBERRY
Yes, it is. Let's unpack.
FADE OUT:
END OF ACT
ACT THREE
FADE IN:
SCENE ONE
INT. JULIA'S APARTMENT. NIGHT.
She is in a small kitchen cooking pasta when the bell rings. She goes to the door and opens it. Frank is standing there with flowers.
JULIA THOMPSON
Flowers, you didn't have too.
FRANK HOCKENBERRY
Women always say that but they mean the opposite. I should know. My wife is a florist.
JULIA THOMPSON
(taking them)
Come in. I'll put them in a vase.
FRANK HOCKENBERRY
Something smells good.
JULIA THOMPSON
I'm making pasta. It should be done. I'll strain it.
FRANK HOCKENBERRY
No, let me. That was always my job at home. It's the only thing my wife lets me do in the kitchen.
He goes to the sink and strains the pasta.
FRANK HOCKENBERRY
Where's the butter?
JULIA THOMPSON
To your left.
(enters kitchen)
I hope you don't mind bottled sauce. I'm not much of a cook.
FRANK HOCKENBERRY
(adding butter)
After two weeks of leftovers, Ragu sounds real good. Plates?
JULIA THOMPSON
Your left. I'll bring out the salads.
(She does.)
I didn't have much old music. A friend of mine lent me some Hendrix and Beatles, not that I remember them.
FRANK HOCKENBERRY
(bringing out plates)
They were before your time. I love them both, but Jimi was my favorite. Which CD do you have?
JULIA THOMPSON
(bringing out plates)
His greatest's hits.
FRANK HOCKENBERRY
I love that one. My son has it. He bought it the day I was attacked. They played it by my bedside all day, hoping it would wake me up. By the tenth time, May was going to throw the CD player out the window. I have to stop calling her that. She won't be my wife for long.
JULIA THOMPSON
How long were you out?
They both sit down.
FRANK HOCKENBERRY
Three days. Strange, when's a person is unconscious, they still hear voices. I heard my friend and family. But I really remember Jimi.
JULIA THOMPSON
I have some wine for me and some gingerale for you. I also have soda.
FRANK HOCKENBERRY
Either is fine.
JULIA THOMPSON
Do you say grace?
FRANK HOCKENBERRY
I used to, not anymore. Do you?
JULIA THOMPSON
I never did. I'll put the CD and be back. Please, start. Don't let it get cold.
She does and comes back.
JULIA THOMPSON
Dig in.
They begin eating.
JULIA THOMPSON
You're not like most people your age. You act younger.
FRANK HOCKENBERRY
I feel younger. I started life late. That's why I have two babies.
JULIA THOMPSON
Why did you start so late?
FRANK HOCKENBERRY
Have you ever been to Hubbard Street?
JULIA THOMPSON
No. I made it a point to avoid any apartments in that area. Why do you ask?
Frank starts to unbutton his shirt halfway. He points to the scars.
FRANK HOCKENBERRY
I lived there for ten years. These scars are from beatings I received when I was a wino.
(buttons up shirt)
Mr. Anderson found me. He and his wife took me in and cleaned me up. He gave me a job. Now, we call it an internship. Then it was called a favor.
JULIA THOMPSON
You were a caseworker?
FRANK HOCKENBERRY
I did exactly what Zek does. But I got bored. So one day I went to Hubbard Street and saw some old friends. I decided to help them like Zek did me. For years I split my schedule between the VA and Hubbard Street. That's how I got the title.
JULIA THOMPSON
When did you find time to have a family?
FRANK HOCKENBERRY
I made time. I guess that's why I look young. I missed ten years of my life. Plus, five kids have a way of keeping you young. I actually enjoy watching the Cartoon Network. You know you could break down my history into four dates. I can remember where I was on the day we landed on the moon, the night the Beatles were on Ed Sullivan, the day Kennedy was shot and the night of December 8th, 1980. You weren't born then.
JULIA THOMPSON
I was two in 1980, and who's Ed Sullivan?
FRANK HOCKENBERRY
At least you didn't say who were the Beatles.
JULIA THOMPSON
I don't really know them.
FRANK HOCKENBERRY
You know Paul McCartney?
JULIA THOMPSON
I've heard of him. He's some rich guy in England.
FRANK HOCKENBERRY
One day I popped in "A Hard Day's Night" into the VCR. My son came home and asked me why I was watching a black and white movie. I pointed out McCartney. He said, "Oh, you mean that old guy missing one eyebrow?" Then he proceeded to tell me how bad McCartney looked. I sat there watching this young good-looking twenty-one year old man and realized, in my eyes he will always be twenty-one. That's when I started to feel old. Lennon and McCartney gave music so much.
JULIA THOMPSON
Who's Lennon?
FRANK HOCKENBERRY
John Lennon of the Beatles. He was assassinated on December 8th, 1980.
JULIA THOMPSON
I have really made a mess of tonight.
(standing)
I'm sorry I haven't heard of Kennedy, or watched us land on the moon, or even heard of the Beatles on Ed Sullivan. I can't help it I was born when I was.
He stands up and touches her shoulders in a fatherly manner.
FRANK HOCKENBERRY
You did nothing wrong. It's just a generation gap.
He puts his hand under her chin and raises her face to his.
FRANK HOCKENBERRY
We can't help when we're born.
He smiles for a moment. Their eyes meet and he kisses her. She kisses him back. It becomes passionate and he pushes against her.
FRANK HOCKENBERRY
No.
(pushing away)
I can't do this. I don't love you. I still love my wife.
JULIA THOMPSON
She's leaving you.
FRANK HOCKENBERRY
I have to get her back.
(walking away)
I'm sorry if I led you on. It wasn't my intention. I never wanted to hurt you.
JULIA THOMPSON
Please, Frank, don't do this. I love you!
FRANK HOCKENBERRY
I don't love you. Forgive me. I am so sorry.
He runs out of the apartment. She is in tears. She grabs the vase of flowers and throws it at the door. It shatters.
JULIA THOMPSON
Not as sorry as I am.
CUT TO:
SCENE TWO
INT. FRANK'S LIVING ROOM. NIGHT -- LATER
There is a loud pounding on the door. Mayling comes down the stairs. She is closing her robe. She looks through the peephole and opens the door. Frank runs in.
FRANK HOCKENBERRY
I had to see you.
MAYLING HOCKENBERRY
Is something wrong? You look upset?
FRANK HOCKENBERRY
I had to see someone. I didn't know where to go.
He starts pacing frantically.
MAYLING HOCKENBERRY
Frank, stop pacing. You're making me seasick. Now calm down and tell me what's wrong?
FRANK HOCKENBERRY
I can't stand still.
MAYLING HOCKENBERRY
(grabbing him still)
Tell me what's wrong?
FRANK HOCKENBERRY
(pulling away)
Something happened tonight. I need someone to talk to. I need my best friend. Are you still my best friend?
MAYLING HOCKENBERRY
Yes, I'm still your best friend. Tell me what happened.
FRANK HOCKENBERRY
I've made a mess of my life. I had a wife and family who loved me, and I pushed them away. Now, they don't want me back. I've never felt so alone. Even when I was on the streets it never felt like this.
I have this young assistant. We've been working pretty close for about two weeks. Tonight I was at her place for the first time. She made dinner. We were talking and she got upset. I tried to make her feel better and we ended up kissing. I knew she wanted more. I wanted more. But I couldn't. You see, I'm still in love with my wife. I can't get her out of my mind or my heart. She wants us to break up and I'm not fighting her.
MAYLING HOCKENBERRY
Does she love you?
FRANK HOCKENBERRY
I don't know about my wife, but my assistant does. After she told me I ran out. She was in tears. I never meant to hurt her or my wife. Things just happened. I don't know what to do. What would you do if the one person you really loved stopped loving you back?
MAYLING HOCKENBERRY
I'd set them free.
FRANK HOCKENBERRY
I've already doing that.
MAYLING HOCKENBERRY
But first I'd make sure they really stopped loving me. They may be just hurt. Sometimes it takes a little longer to realize their mistake.
FRANK HOCKENBERRY
How long should I wait?
MAYLING HOCKENBERRY
That depends on the person.
FRANK HOCKENBERRY
Well, if you should see my wife, could you do me a favor? Could you tell her I will wait for as long as it takes.
MAYLING HOCKENBERRY
I will.
He walks to the door and turns.
FRANK HOCKENBERRY
I'm sorry I disturbed you so late.
MAYLING HOCKENBERRY
(walking to door)
That's okay.
FRANK HOCKENBERRY
Maybe you'd like to have dinner Saturday night?
MAYLING HOCKENBERRY
I can't. I...I have a date.
FRANK HOCKENBERRY
(put back)
A date? I see. Well, maybe next time. Tell me something first. Is he a good guy? Does he know the meaning of the word NO? That's if you choose to say NO. You don't have too.
MAYLING HOCKENBERRY
He's a good guy. I've known him for two years. He's one of my suppliers.
Frank opens the door.
FRANK HOCKENBERRY
Have a good time. You work hard and deserve a night out. Thanks for listening. Good night.
He walks out quietly closing the door. She watches as the sound of a car is heard. She looks up and sees Andrew at the top of the stairs.
ANDREW HOCKENBERRY
Tell me one thing. Did you agree after I told you about his assistant?
MAYLING HOCKENBERRY
Yes.
ANDREW HOCKENBERRY
When will I learn to keep my mouth shut?
He goes upstairs. She sits on the steps.
CUT TO:
SCENE THREE
INT. FRANK'S OUTSIDE OFFICE. DAY
He comes in. Julia is packing her personal items. He approaches cautiously.
FRANK HOCKENBERRY
I'm sorry Julia. I didn't mean for this to happen. You're a nice girl.
JULIA THOMPSON
And young enough to be your daughter.
(facing him)
They warned me about you. Everyone told me you were a one-woman man. I didn't believe them. I kept thinking his wife is divorcing him. He'll come to me. But I was wrong.
(heads to door)
Good-bye, Frank.
FRANK HOCKENBERRY
I wish you wouldn't leave. We work well together. We could still be friends. Just forget about last night. Act like it didn't happen.
JULIA THOMPSON
But it did. And I can't forget how I feel. Good-bye, Frank. I called personnel. They're sending up a temp. Maybe they'll be fat and ugly.
She leaves as MONICA the ANGEL enters. He turns.
FRANK HOCKENBERRY
Can I help you?
MONICA - ANGEL
I'm looking for Frank Hocken-
FRANK HOCKENBERRY
Berry. That's me. What do you want?
MONICA - ANGEL
Personnel sent me. I'm your temp.
FRANK HOCKENBERRY
(under his breath)
So much for fat and ugly. My name is Frank. I'll get you started immediately. Before we start, is there something special you need?
MONICA - ANGEL
I could use some coffee.
CUT TO:
SCENE FOUR
INT. CAFETERIA. DAY -- LATER
Andrew is sitting eating lunch. He's looking at some sheet music. Frank comes in, sees him and sits with him. Andrew looks up.
ANDREW HOCKENBERRY
Hi, dad.
FRANK HOCKENBERRY
Hi.
ANDREW HOCKENBERRY
What's up?
FRANK HOCKENBERRY
Have you asked about next weekend?
ANDREW HOCKENBERRY
Yeah, I got it. It helps when my dad's name is on my boss's paycheck.
FRANK HOCKENBERRY
I'm the fourth one down.
ANDREW HOCKENBERRY
You're still there. When do we leave?
FRANK HOCKENBERRY
Friday morning about seven. I want to beat rush hour traffic. I'll be at the house at six-thirty.
ANDREW HOCKENBERRY
We'll be ready. What's Dolly like?
FRANK HOCKENBERRY
I only saw her a few times. She seems nice.
ANDREW HOCKENBERRY
What does she look like?
FRANK HOCKENBERRY
Old, like your grandfather.
ANDREW HOCKENBERRY
Is that really her name?
FRANK HOCKENBERRY
Yes. By the way, my assistant quit today. We had a disagreement.
ANDREW HOCKENBERRY
So you're on your own?
FRANK HOCKENBERRY
Personnel sent me a temp. She's very pretty, but this one is older.
ANDREW HOCKENBERRY
What's she like?
FRANK HOCKENBERRY
Dippy but she's safe. She's always at her desk, doesn't mind if I close my door and drinks alot of coffee. She's got amazing bladder control.
ANDREW HOCKENBERRY
If you say so.
Monica comes in. She goes to the coffee machine. Frank sees her.
FRANK HOCKENBERRY
There she is.
(standing)
Monica!
She turns, sees him and walks over. Andrew looks up and smiles.
MONICA - ANGEL
Hello, Frank. Getting lunch?
FRANK HOCKENBERRY
I was talking to my son. Andrew, this is my new assistant, Monica.
ANDREW HOCKENBERRY
(shaking her hand)
Nice to meet you.
MONICA - ANGEL
(sees music)
What song is that?
ANDREW HOCKENBERRY
LET IT BE.
MONICA - ANGEL
It's a beautiful song. "There will be an answer. Let it be." Life is like that. There are always answers. They're just not always the ones we want.
FRANK HOCKENBERRY
You can say that again. Isn't that your 8th cup since this morning?
MONICA - ANGEL
I've lost count. I love coffee.
FRANK HOCKENBERRY
Doesn't all that coffee make you hyper?
MONICA - ANGEL
No. I could drink it all day. Will that be a problem?
FRANK HOCKENBERRY
No.
MONICA - ANGEL
I better get back. I have work to do. Nice meeting you, Andrew. I hope to see more of you.
ANDREW HOCKENBERRY
You can count on it.
She walks off and leaves the room.
FRANK HOCKENBERRY
See what I mean, dippy. Shame, she does have nice legs.
ANDREW HOCKENBERRY
You got that right.
FRANK HOCKENBERRY
Well, I'm going to eat now. I'll see you later.
ANDREW HOCKENBERRY
See ya.
Frank leaves. Andrew goes into the hall. Monica is waiting for him.
CUT TO:
SCENE FIVE
INT. HALLWAY. DAY -- CONTINUOUS
Monica waits as Andrew comes out.
MONICA - ANGEL
What do you want, Andrew?
ANDREW HOCKENBERRY
(turning)
How long have you been here?
MONICA - ANGEL
A few seconds. What do you want?
ANDREW HOCKENBERRY
Dad's getting suspicious. I think maybe you should take a few walks during the day. You can't sit at your desk all the time.
MONICA - ANGEL
And why not?
ANDREW HOCKENBERRY
I don't know about you guys but when we drink coffee, what goes in must come out. Dad's noticed your amazing bladder control. Until you do whatever you're going to do, you're going to have to appear human. Why are you here?
MONICA - ANGEL
I see your point. I'll take more walks. Your father prayed and we were the answer. There's still hope for your parents. I'm here to make it possible a little faster. They still love each other.
ANDREW HOCKENBERRY
I know they do. What can I do to help?
MONICA - ANGEL
Nothing. Let love do it. I better get back.
(walking and turning back)
I'll remember, little walks.
She goes off. Andrew checks out her legs.
ANDREW HOCKENBERRY
Man, if you were only human?
CUT TO:
SCENE SIX
INT. FRENCH RESTAURANT. SATURDAY NIGHT
Paul and Mayling are seated. A WAITER comes by and hands him a wine list.
PAUL SMITH
What type of wine do you like?
MAYLING HOCKENBERRY
I don't know. I'll leave it up to you. With Frank's drinking problem I rarely have it anymore.
PAUL SMITH
(to waiter)
We'll have the red wine.
WAITER
Of course, sir.
The waiter walks away.
PAUL SMITH
What do you think of this place?
MAYLING HOCKENBERRY
It looks expensive.
PAUL SMITH
Don't worry. I can pay for it. Technically, you're paying for it. You're one of my best customers.
MAYLING HOCKENBERRY
So this is a business dinner?
PAUL SMITH
Not the way you look tonight. You look beautiful.
MAYLING HOCKENBERRY
Thank you.
The waiter brings the wine and they go through the ritual. He leaves and Paul raises his glass.
PAUL SMITH
A toast.
Mayling raises her glass.
PAUL SMITH
To flowers, the second most beautiful thing on earth.
MAYLING HOCKENBERRY
What's the first?
PAUL SMITH
You. You like the wine?
MAYLING HOCKENBERRY
It's very good. I miss the occasional drink. It's hard living with an alcoholic.
PAUL SMITH
Did you know it when you married him?
MAYLING HOCKENBERRY
Yes. My friends warned me against it but I loved him. He's a good man when he's sober. When we first met again he was very angry. He hated the world and himself. But when he dried out he became the complete opposite. I never saw a man with so much love. He's great with the kids. And our house is a zoo. At one time, we had three cats, two dogs, two goldfish and a lizard. We spent a fortune on pet food.
PAUL SMITH
Who in your family gets what pet?
MAYLING HOCKENBERRY
I love cats. Andrew loves dogs. My middle girls love fish.
PAUL SMITH
And the lizard?
MAYLING HOCKENBERRY
Frank loves George. When we first got him he kept trying to convince me George was smiling at him. I would look at George and he always looked the same.
PAUL SMITH
Frank's an important part of your life, isn't he?
MAYLING HOCKENBERRY
We've been together for a long time.
PAUL SMITH
And where is he now?
MAYLING HOCKENBERRY
The men's hotel on Lombard Street, the Greenleaf.
PAUL SMITH
(standing)
Then that's where we're going.
MAYLING HOCKENBERRY
Why?
PAUL SMITH
I can't compete with a ghost. You'd rather be with him. When he left you I thought I had a chance. For the past year I've looked forward to your orders. I wanted to see you as often as I could. I can see now you want him not me. You wait in the lobby. I'll pay the bill.
MAYLING HOCKENBERRY
(rising)
I'm sorry. I didn't mean to get you upset.
PAUL SMITH
I am not upset. I just see a woman in love and it isn't for me. I'll meet you in a few minutes.
(to waiter)
Garcon?
CUT TO:
SCENE SEVEN
INT. FRANK'S ROOM. NIGHT -- LATER
Frank is lying on the couch watching Rocky and Bullwinkle. At his side is a small table with dinner, a peanut butter and jelly sandwich and milk. He is laughing at the cartoon. There is a knock at the door. He opens it. Paul is standing there.
FRANK HOCKENBERRY
Can I help you?
PAUL SMITH
My name is Paul. I've found someone who belongs to you.
He moves aside showing Mayling.
PAUL SMITH
We were about to have dinner and all she could talk about was you. Look, you two still love each other. Why don't you do us all a favor and work it out?
FRANK HOCKENBERRY
Thank you for bringing her here safe. There aren't many gentlemen left.
PAUL SMITH
I'm no gentlemen, just a hopeless romantic. That's probably why I sell flowers and not Real Estate. Good night.
He walks aside and turns.
PAUL SMITH
Oh, by the way, Mayling, lizards do smile. I had one as a child.
He walks off. Frank turns to her.
FRANK HOCKENBERRY
(confused)
You told him about George?
MAYLING HOCKENBERRY
Can I come in?
FRANK HOCKENBERRY
Yeah sure. Just don't expect the ritz.
She comes in and looks around. She is not pleased.
MAYLING HOCKENBERRY
How can you live like this?
FRANK HOCKENBERRY
I've been in worse. Besides, this place is clean. I had a problem with bugs when I first moved in but they sprayed and I haven't seen one in awhile.
MAYLING HOCKENBERRY
(looks at table)
I hope that's not dinner?
FRANK HOCKENBERRY
Yes it is. You know I love PBJ.
MAYLING HOCKENBERRY
You have to eat more than this?
She goes to the cabinets and opens them. There are more bottles of peanut butter. She then goes to the fridge and does the same. All she sees is milk, bread and lots of takeout boxes.
MAYLING HOCKENBERRY
What's with the boxes?
FRANK HOCKENBERRY
I have a small kitchen so I can't really cook. All I can do is reheat. All those boxes are takeout.
MAYLING HOCKENBERRY
And those letters on them?
FRANK HOCKENBERRY
Days of the week. I mark it for when I buy them. "M" is for Monday and so on.
She pulls out a box marked "Sat". It is old pizza. She looks at it with disgust.
MAYLING HOCKENBERRY
Frank, this pizza is so green, it will cure you after it makes you sick, if it doesn't kill you first. How can you live like this? Why didn't you tell me?
FRANK HOCKENBERRY
I didn't think you cared.
MAYLING HOCKENBERRY
What? We have been through too much for me not to care. You have to come home.
FRANK HOCKENBERRY
I can't, not until it's right. I want it to be like before.
MAYLING HOCKENBERRY
At least let me get you something healthy to eat.
FRANK HOCKENBERRY
PBJ is healthy.
MAYLING HOCKENBERRY
Not if it's all you're eating. Frank, what has happened to you? Where is the man I married?
FRANK HOCKENBERRY
The man you married was a drunk. I'm sober again.
MAYLING HOCKENBERRY
I'm not talking about the drinking. That day in the alley you did die. They took away your spirit. You were a man before and now you're a child. The girls have more sense than you.
FRANK HOCKENBERRY
I know my limitations. You can't make people love you.
MAYLING HOCKENBERRY
You're talking about me, aren't you?
FRANK HOCKENBERRY
I'm giving you your freedom.
MAYLING HOCKENBERRY
I don't want my freedom. I want my old Frank back. He has to be still in there.
FRANK HOCKENBERRY
The only old Frank I remember is the drunk.
MAYLING HOCKENBERRY
That's not what I mean. I mean the one who made me laugh, who threw his peas instead of eating them, who loved to play monopoly with his kids, the one who was a gentle lover,
(walks to TV)
The one who watches Rocky & Bullwinkle even when his daughters aren't in the room. Where is THAT Frank?
FRANK HOCKENBERRY
I haven't seen him in a long time.
MAYLING HOCKENBERRY
You say that so meekly. I have been in this room for over five minutes and you still haven't even approached me. What do I have to do to get your attention? Tear your clothes off?
FRANK HOCKENBERRY
I can't do that. I need something more.
MAYLING HOCKENBERRY
I'll take that too. Now, damn it! Come over here!
He slowly does, puts his arms around her waist and gently kisses her.
MAYLING HOCKENBERRY
I said I didn't want a peck.
He kisses her again, more passionate and tries to get her on the couch. She pulls away.
MAYLING HOCKENBERRY
No.
FRANK HOCKENBERRY
(frustrated)
Now what?
MAYLING HOCKENBERRY
Not here. I want some place cleaner. Do you have any plastic bags?
FRANK HOCKENBERRY
Yeah, why?
MAYLING HOCKENBERRY
Go to that fridge and throw out anything that's over two days old. I'm giving you a real meal. I will not have you sick.
FRANK HOCKENBERRY
What about the last part?
MAYLING HOCKENBERRY
We have a room for that upstairs. Now get rid of that food and we'll be on our way.
FRANK HOCKENBERRY
Yes, ma'am.
He goes and grabs a bag. She looks around in disgust.
MAYLING HOCKENBERRY
Yuck!
CUT TO:
SCENE EIGHT
INT. FRANK'S KITCHEN. NIGHT -- LATER
Mayling and Frank walk in.
MAYLING HOCKENBERRY
Take a seat.
He does.
MAYLING HOCKENBERRY
All I have is sweet & sour pork. I'll nuke it. What would you like?
She pulls out two soda cans.
MAYLING HOCKENBERRY
Cola or uncola?
FRANK HOCKENBERRY
Cola.
She gives him the can and a glass. She then grabs the food and nukes it. He opens the can and pours it while she gives him the plate and utensils.
MAYLING HOCKENBERRY
It's not much but at least it's not green.
(hands him bottle)
Soy sauce.
She gets up, gets the food and gives it to him.
FRANK HOCKENBERRY
(tasting)
It's good. It's alot better than takeout.
MAYLING HOCKENBERRY
I'll go upstairs and change.
FRANK HOCKENBERRY
No, please stay. I like looking at you like that.
MAYLING HOCKENBERRY
Well I canning the shoes. My feet hurt.
FRANK HOCKENBERRY
I could rub them like I used to.
MAYLING HOCKENBERRY
You always were very good with your hands.
FRANK HOCKENBERRY
So, where is everybody?
MAYLING HOCKENBERRY
The girls are with Zek. The babies are with the sitter and Andrew is at band rehearsal. He'll be late. He's getting a ride home.
FRANK HOCKENBERRY
So we're alone? That hasn't happened in years. What's Andrew been doing lately?
MAYLING HOCKENBERRY
You should know. You see him every day.
FRANK HOCKENBERRY
He's always working.
MAYLING HOCKENBERRY
The band's gotten very popular. In two weeks he's playing St. Jerome.
FRANK HOCKENBERRY
I wish I could see him.
MAYLING HOCKENBERRY
Sure you can. It IS our family church.
FRANK HOCKENBERRY
He still doing oldies?
MAYLING HOCKENBERRY
He still plays Hendrix and he's started learning the British Invasion. And every once in awhile he plays one of his own.
FRANK HOCKENBERRY
He writes?
MAYLING HOCKENBERRY
He writes alot. He sneaks them in-between the oldies. No one notices.
FRANK HOCKENBERRY
Are they any good?
MAYLING HOCKENBERRY
I think they are, but I'm partial.
FRANK HOCKENBERRY
We may have another Lennon-McCartney on our hands.
He finishes eating.
MAYLING HOCKENBERRY
That was quick?
FRANK HOCKENBERRY
I was hungry. I miss your cooking.
MAYLING HOCKENBERRY
(grabbing dishes)
I'll do the dishes.
FRANK HOCKENBERRY
(taking her hands)
No I will. You'll get your dress wet.
He stands up and goes to the sink.
FRANK HOCKENBERRY
You just sit down. I know where everything is.
He begins washing. She goes to the door and stands by the light switch. He grabs a towel to start drying. The lights go off.
FRANK HOCKENBERRY
What happened to the lights?
MAYLING HOCKENBERRY
The dishes can dry by themselves.
Frank turns and sees her profile in the dark.
MAYLING HOCKENBERRY
Let nature take its course, and I don't mean the dishes. Come to bed, husband.
He puts down the rag and goes to her.
CUT TO:
SCENE NINE
INT. FRANK'S BEDROOM. NIGHT -- LATER
They are lying in bed. She has her arm around his chest. He is gently stroking her hair.
MAYLING HOCKENBERRY
I'd forgotten who good this felt.
FRANK HOCKENBERRY
I didn't. Every night I would dream of this.
MAYLING HOCKENBERRY
Does this mean you're coming back home?
FRANK HOCKENBERRY
Do you want me too?
MAYLING HOCKENBERRY
You're back in this bed. What do you think? Please come home, Frank.
FRANK HOCKENBERRY
Not yet. We have too many issues to resolve first. When I come home, I want it to be right and permanent. This is just a first step. At least we're not yelling anymore. This time lets be honest with each other. The last thing I want is to have another secret come between us again.
MAYLING HOCKENBERRY
Do you have any left?
FRANK HOCKENBERRY
I'm all out. Actually, I have something. But, it's not a secret. My assistant, Julia, quit. I have a temp. She's even prettier but older.
MAYLING HOCKENBERRY
What's she like?
FRANK HOCKENBERRY
Dippy but very safe. She sits all day at her desk working and drinking coffee. She must have amazing bladder control. She never goes to the bathroom.
MAYLING HOCKENBERRY
What's her name?
FRANK HOCKENBERRY
Monica, and she's Irish.
Mayling smiles.
FRANK HOCKENBERRY
I tell you, her bladder makes me wonder if she's even human. If it were me, I'd be living in the can. Are you out of secrets?
MAYLING HOCKENBERRY
No. The week you were gone my father lived here. He went home the day you came back.
FRANK HOCKENBERRY
I expected that. He did help you. You had to forgive him eventually.
MAYLING HOCKENBERRY
I only forgave him after he told me the truth. He's dying from cancer.
FRANK HOCKENBERRY
May, I'm so sorry. How long---?
MAYLING HOCKENBERRY
Not long. He gave me the addresses and phone numbers of my family in Vietnam. I'm not alone anymore.
FRANK HOCKENBERRY
I'm happy for you.
MAYLING HOCKENBERRY
There is one more secret. It involves us. The night you gave me the money to leave you weren't the first man I was with. My pimp was.
FRANK HOCKENBERRY
I already know that.
MAYLING HOCKENBERRY
Who told you?
FRANK HOCKENBERRY
You did. When we first became lovers and I spent the night, I could tell you were still scared of men. That's why I tried to be very gentle. I wanted to wean you slowly.
MAYLING HOCKENBERRY
But how did you know?
He turns and lands on top of her.
FRANK HOCKENBERRY
Because, my dear wife, you talk in your sleep. You have for years.
MAYLING HOCKENBERRY
So do you.
FRANK HOCKENBERRY
I know. Sometimes we even talk to each other. One night Andrew had to go to the can. On his way back he heard us talking. He opened the door a crack and there we were, having a conversation. And we were both asleep.
MAYLING HOCKENBERRY
What were we talking about?
FRANK HOCKENBERRY
Nothing important, work. You were complaining of the rising price of flowers and I was telling you the price of the new X-ray machine I just got for the hospital.
MAYLING HOCKENBERRY
At least we weren't arguing.
FRANK HOCKENBERRY
No, that we do awake.
MAYLING HOCKENBERRY
If you knew, why didn't you bring it up?
FRANK HOCKENBERRY
Because--
(still stroking her hair)
You were raped at fifteen. I figured you'd tell me when you were ready.
MAYLING HOCKENBERRY
And if I never did?
FRANK HOCKENBERRY
I wouldn't have cared. What time did you say Andrew was coming?
MAYLING HOCKENBERRY
(looking at clock)
About an hour from now. Why?
He pulls her closer with his hands.
FRANK HOCKENBERRY
Because,
(kissing her neck)
I want another dip in the pool before I have to go. It wouldn't do for him to find me here.
MAYLING HOCKENBERRY
I see your point. UMHH, that feels so good.
FRANK HOCKENBERRY
(stops to look at her)
You have to be very quiet, not your usual volume.
MAYLING HOCKENBERRY
You won't even know I'm here.
He kisses her.
CUT TO:
SCENE TEN
INT. FRANK'S LIVING ROOM. NIGHT -- CONTINUOUS
Andrew comes into the house carrying his guitar. He locks the door and goes upstairs. As he reaches the second floor hallway he hears a man's voice in his mother's room. He opens the case, grabs his guitar by the neck and opens the door. He sees a shadow of man on top of her with his hand on her mouth.
ANDREW HOCKENBERRY
GET OFF HER!
He turns on the lights and sees Frank.
ANDREW HOCKENBERRY
OOPS!
(turns off lights)
Sorry.
He leaves and goes into his room.
CUT TO:
SCENE ELEVEN
INT. ANDREW'S ROOM. NIGHT -- CONTINUOUS
He runs in. He hears his parent's voices from their room and then hears a knock on his door.
FRANK HOCKENBERRY
Son, can I come in?
ANDREW HOCKENBERRY
Go ahead.
Frank comes in quietly. Andrew is putting his guitar back in his case.
FRANK HOCKENBERRY
I'm sorry you saw that. I was hoping to be gone by now. You came home early.
ANDREW HOCKENBERRY
We finished early.
FRANK HOCKENBERRY
I feel so embarrassed.
ANDREW HOCKENBERRY
She's your wife. There's no need to be embarrassed. I got worried when I heard a man's voice.
FRANK HOCKENBERRY
So you were going to hit him with your guitar?
ANDREW HOCKENBERRY
It's all I had.
FRANK HOCKENBERRY
Where was the baseball bat?
ANDREW HOCKENBERRY
On the first floor.
FRANK HOCKENBERRY
Do me a favor? Next time you want to hit someone, use the bat not your guitar.
ANDREW HOCKENBERRY
We only have one.
FRANK HOCKENBERRY
Get another one.
ANDREW HOCKENBERRY
Okay, dad. Does this mean you're coming home?
FRANK HOCKENBERRY
Not yet. Your mother and I have to talk. Tonight was a fluke.
ANDREW HOCKENBERRY
It didn't look like a fluke.
FRANK HOCKENBERRY
Sex was never our problem, talking was. We still have alot of issues to deal with.
ANDREW HOCKENBERRY
At least the hormones are still there. There's hope.
FRANK HOCKENBERRY
You sound like Gunther. Yes, there's hope. We've been married almost twenty years. I had it all planned. I knew exactly what I was going to do for our twentieth. It was going to be very something very special.
ANDREW HOCKENBERRY
A cruise?
FRANK HOCKENBERRY
No, nothing like that. I didn't want travel. We can do that anytime.
ANDREW HOCKENBERRY
Then what?
FRANK HOCKENBERRY
I wanted to marry your mother all over again, and this time do it right; the church, the dress, the walk down the aisle. She was robbed of that the first time. We were more concerned with giving you a name. I want to give her what she really deserves.
ANDREW HOCKENBERRY
Will you make it twenty?
FRANK HOCKENBERRY
I intend to. I better go now. It's late.
Frank goes to the door.
ANDREW HOCKENBERRY
Where are you going?
FRANK HOCKENBERRY
Home.
ANDREW HOCKENBERRY
This is your home.
FRANK HOCKENBERRY
Not yet. We'll see what happens after the wedding. Good night, son.
ANDREW HOCKENBERRY
Good night, Dad. Give mom a kiss for me.
Frank leaves. Andrew smiles.
ANDREW HOCKENBERRY
YES!
CUT TO:
SCENE TWELVE
INT. FRANK'S LIVING ROOM. NIGHT -- CONTINUOUS
Frank and Mayling are by the bottom of the stairs. He has his coat on and is holding her.
FRANK HOCKENBERRY
I'll call you tomorrow.
MAYLING HOCKENBERRY
You wouldn't if you stayed here.
FRANK HOCKENBERRY
I can't. This is all going too fast. We still have alot of issues to talk about. I want my next move to be permanent.
MAYLING HOCKENBERRY
Do me a favor?
FRANK HOCKENBERRY
Name it.
MAYLING HOCKENBERRY
Promise me you'll eat better, no more green pizza.
FRANK HOCKENBERRY
I promise.
He holds her and kisses her. Andrew watches from above. It becomes passionate. Andrew crosses his fingers.
ANDREW HOCKENBERRY
Mom, work it. I know you can.
FRANK HOCKENBERRY
You're making this very difficult. I won't want to leave.
MAYLING HOCKENBERRY
That's my intention.
FRANK HOCKENBERRY
Anyone ever tell you you're very convincing?
MAYLING HOCKENBERRY
Shut up and kiss me.
He does, while pushing her against the stairs railing.
FRANK HOCKENBERRY
If we don't stop now, we never will.
MAYLING HOCKENBERRY
Shut up, Frank.
FRANK HOCKENBERRY
(pulling away)
I really have to go. It's bad enough Andrew caught us.
He walks to the door and opens it. He turns and sees her standing there quietly, looks at her for a moment and then throws off his coat and grabs her.
FRANK HOCKENBERRY
Oh, the hell with it! I'm staying. Andrew's just going to have to loose sleep.
Andrew leaves the top of the stairs. Frank and Mayling go back up only to meet him holding a pillow.
FRANK HOCKENBERRY
Where are you going?
ANDREW HOCKENBERRY
To the girls room. It's quiet there.
(going to room)
Have a nice time guys. Remember, mom, tomorrow is church.
He goes in and closes the door.
FRANK HOCKENBERRY
(in shock)
And I married you for HIM?
She grabs his hand and starts pulling him.
MAYLING HOCKENBERRY
Come on, Francis. You have work to do.
FRANK HOCKENBERRY
(walking to her)
Yes ma'am. Good night, Andrew.
ANDREW HOCKENBERRY
Good night, guys.
They walk back into their room.
FADE OUT: