Still Life - "Dead Serious" - Acts I & II
Aug. 16th, 2008 07:35 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
feliciakwAs promised, Acts I and II of the Still Life's second episode, "Dead Serious." It's sort of a combination of a couple different styles. The shorter conversations and scenes that I just summarize are more prose-y, while the scenes that I dictated in length are in a more transcript-like format. Please let me know if I need to clarify something, or if you have any questions.
For the previouslies, check here and here. For a portrait of the Morgan family, check here. Note that this third site is dead, for obvious reasons.
Still Life, "Dead Serious" recap, from the beginning of the beta-cam tape . . .
Color Bars
Episode ID:
20th Century Fox TV
STILL LIFE
“Dead Serious”
Ep. #1AHJ01
EDITED MASTER
TR=44:53
1.30.04
Bart Simpson does channel and phase checks for sound. Again, bwah!
A/N . . . Dramatis personae reminder: “Dad” and “Ben” are the same person. “Mom” and “Charlotte” are the same person. “Granddad” and “Owen Foster” are the same person, Charlotte’s father. Also, in the opening credits, the characters are not listed with the actor names, but I’ll put them in [brackets] so you know. Also, for those just joining us, VOJ is Voice of Jake or Voice-Over Jake.
First, the previouslies.
Act 1
Picture opens on wispy clouds that dissolve into the Hollywood version of Heaven. Jake, in his cop uniform, walks up to a man dressed in white who is holding a clipboard.
VOJ: You know in the movies when you die, it’s like this white world with all these clouds. And then there’s a guy in a white suit with a clipboard, an old guy or Morgan Freeman, but always lookin’ sharp in that suit.
Angel: Welcome to the afterlife. Here’s how it works.
VOJ: It’s not like that. At least not for me.
Flashes of Jake’s body being found, his grave, etc.
VOJ: Some of the time I’m here. It doesn’t seem like much, but I feel . . . there isn’t even a word for it . . . perfect, only better.
Colors blend together, ending on red, that pulls out to be the top of Maggie’s red beret.
VOJ: But as good as that feels, I’d trade it for a look at my girl Maggie every time.
Camera cranes down to regular position, showing
Exterior, Morgan house, Day:
Maggie walks up the Morgan driveway.
Colors, blurred focus, impression of family in the Morgan kitchen.
VOJ: Okay, yeah, that’s the other thing—I bounce around like crazy.
Jump cuts and shaking camera of Mom in kitchen, Daisy sitting on the counter, Max sitting on the stairs tying his shoes, Em having breakfast.
VOJ: Like, I just thought about my family, and now, here I am.
Camera settles in.
Max (wearing a maroon t-shirt and grey sweat pants that hit about mid-shin. The shirt has “Ted’s Lounge” in blue sporty script across the front) enters kitchen as Mom is fixing breakfast. Em settles at the kitchen island with a mug in hand, and Daisy is sitting cross-legged on the counter with her own mug.
Mom: (To Max) Breakfast?
Max: Nope. I’m gonna go for a run. (Max retrieves orange juice from the fridge.)
Mom: Em?
Em: Nope. Got it. (She holds up her mug.)
Mom: That’s not protein.
Em: (defensively) It’s soy milk!
Mom: Chicken eggs! (As she scoops some out onto Em’s plate, much to Em’s dismay. Em curls her lip and shrugs away.)
As Max is getting a glass from the cupboard,
Mom: (to Max) So I was, uh, thinking that it’s probably not too late to enroll in the junior college.
Dad enters.
Dad: Who turned off the alarm? (He kisses Charlotte.)
Mom: You did, honey.
Dad: (as he puts on his suit coat, to Max, indicating Max’s athletic attire) I thought you were coming in with me. Aren’t you gonna turn in some applications downtown?
Max looks a little uncomfortable, uncertain.
Max: Oh, right. Um, it’s just that I don’t know what I’m doing yet. A friend told me about this job in Alaska.
That brings the family (particularly Em, Mom, and Dad) up short.
Max: And it pays really well, and when I’m done, I can just do my photography, so . . . (deep breath. He’s tested the water, and it’s definitely chilly) but . . . I’m just thinking about it. I haven’t really decided.
Dad: You even look for work in town?
Max: Yeah, it’s just—it’s hard and—
Dad: I gotta go. We’ll talk later. (And he turns to leave, throwing a kiss to the girls.)
Mom: (calling after him) Home on time! Emily’s cooking dinner!
Ben meets Maggie at the front door.
Mag: Uh, hi. (She pulls off her beret and indicates the large bag on her shoulder.) Uh, I just came by to drop these off for Max.
Ben: Yeah, sure. Go on in, hon. He’s home. For the moment.
In the kitchen:
Em: (to Max) Why would you take off again, spaz? You just got home.
Max returns the pitcher of OJ to the fridge, then drags a hand across his face in frustration.
Maggie enters.
Mom: (delighted) Maggie!
Maggie: I’m interrupting.
Max: It’s okay.
He looks to Mom and sisters for confirmation.
Mom: Of course it is. (She indicates a stool at the island.) Sit down. I’ll get you a cup of coffee.
Mag: I can’t stay. (She reaches into her bag.) I just wanted you to have these (and pulls out some framed photographs. She hands them to Max, who looks through them. They are his photos from Paris). I put a few in frames. It’s just . . . they were exceptional, so . . .
Em and Daisy watch the proceedings with interest.
Max: (looking through the pictures) Thanks. Thank you.
There’s a momentary pause. Maggie offers a small smile, uncertain.
Max: (attention back on Maggie) Are you sure you don’t want anything to eat or drink?
Maggie: I would. I have to run.
Max: I’ll walk you out.
Mom, Em, and Daisy and Maggie wave goodbye to each other as Maggie leaves. The Morgan ladies then exchange knowing looks between each other until Mom tells the girls, “Eat.”
Cut to:
Interior, Front hall, Day:
In the front hall, Max walks Maggie to the front door.
Max: So, maybe we could go grab some coffee or something sometime.
Maggie: (absently twisting her beret in her hands) Max, I don’t think that’s a good idea.
Max: Why not? I just thought that—
Maggie: What, I’d find out what you did last year and forgive all?
Ouch. Max doesn’t know what to do with that.
Maggie: It’s a beautiful gesture, but—
Max: (resigned, recognizing himself for the screw-up he thinks he is) No, I screwed up. I did. I mean, I shouldn’t have taken off the way I did, and I shouldn’t have come on so strong with you when I got home.
Maggie: It’s just . . . none of it matters. We’ve hurt each other too much. We can’t fix that.
Max: I can. (furrowing his brow with hopeful determination—you’ve seen this expression on Dean many times) I mean, I think we can.
Maggie: Do you have a time machine?
Maggie is regretful, Max is disappointed and rejected. Maggie lets herself out the front door as Max watches her go.
Max returns to the kitchen and announces, “I’m going out,” as he grabs something from the counter (his wallet?) and leaves without a backward glance.
Em: Man, those two need to get a room.
Mom looks surprised, like she can’t believe Em would make such a suggestion.
Em: Not that they should. Bad idea.
Mom: It’s a terrible idea.
Daisy: Why?
Mom looks at Daisy like she’s nuts, and Em rolls her eyes.
Daisy: (getting excited about the idea) No, maybe that’s the exactly right idea. No, Max and Maggie back together.
Em: Jake stole Maggie from Max. Nice girl, but she caused, like, biblical unhappiness in this house.
Daisy: But it’s so obvious that they still love each other. No, maybe if we help them, Max would stay in town.
Em: (laughing off the idea) Help them? You can’t be serious.
Mom: Come on. The boys weren’t even speaking when Jake died. All over Maggie.
Daisy: But that’s done. Mom, Maggie is still so sad. Max, he spent a year in Paris taking Jake’s ashes around. I mean, both of them, they loved Jake so much. They understand each other, they could help heal each other.
Mom comes up to Daisy, takes her face in her hands, and kisses her on the forehead.
Mom: I love the way you think. (Points a finger firmly) You stay out of it. There’s too much history with those two. (Mom exits scene.)
Em: (picking up a notebook, getting ready to leave scene) Sorry, Dais. Terrible plan. (Em exits scene.)
VOJ: I’m with you, Em. The worst.
Daisy is left alone, smiling as the wheels in her brain are concocting a way to carry out her plan.
VOJ: Uh-oh. I know that look.
Daisy: Don’t be mad, Jake, but I am totally gonna do this.
OPENING SEQUENCE:
Theme song:
What if you knew I could see
Down a road where you are
‘Cause you know that I’m here when you’re laughing,
And to life we could hold on.
So let it shine. **
Smile, can you hear me,
And I’m callin’ out to you.
**Three people, myself included, tried to decipher this line. This is the closest we could make out, but I’m not convinced this is correct. It did, however, make more sense than anything else we could come up with.
Cast:
David Keith [Ben Morgan]
Jensen Ackles [Max Morgan]
Audrey Marie Anderson [Emily Morgan]
Jeanette Brox [Daisy Morgan]
Morena Baccarin [Maggie Jones]
Bryce Johnson [Jake Morgan]
and
Susanna Thompson [Charlotte Morgan]
Created by Kip Koenig
BLACK
(Note: This ep was written by Marti Noxon.)
Act II
Interior, Maggie’s gallery, Day:
Daisy has stopped by to visit Maggie. They’re puzzling over a new art display that appears to be nothing more than white canvas panels hung on the wall. Daisy asks if there’s even paint on these. Maggie laughs and says she doesn’t know. Her boss sent them from New York. He’s either sleeping with the artist or very, very drunk.
Daisy says she was just in the area buying clothes for school. She didn’t get much, just a frame, leg warmers, and a little plastic monkey that flings toy poop. They both laugh, and Daisy proclaims that she really shouldn’t be allowed to carry her own money. Maggie laughs and says Daisy’s fine. People actually pay money for “this stuff,” indicating the artwork.
Awkward pause as neither girl knows what to say. Daisy notices Maggie nervously twisting an engagement ring around her finger.
Maggie: I know, it’s weird. I still wear Jakes ring.
Daisy: No, it’s not. It’s sweet.. I know things sucked with the family because of what happened with you and Max and Jake, but, um, everybody still really loves you.
Maggie: Daisy . . .
Daisy: You know, you should come by for dinner sometime. No big deal.
Maggie: I wish I could. It’s just too complicated.
Transition to:
Interior, Morgan dining area (the kitchen area with the island is open space into the dining area; they’re one big room), Day:
Mom is shuffling papers and clipping them together, Em has her feet propped up on the dining table, reading. Daisy enters with her small shopping bags.
Daisy: Shopping.
Mom: What?
Daisy: Oh. You asked me what I was doing.
Mom: No. (She notices the bags. Knowing and suspicious) You went downtown.
Daisy: (trying not to look guilty of subterfuge) Mmhm. Shopping.
Mom: Where Maggie’s gallery is? (Now her knowing smile fades.) I thought I made myself clear.
Daisy: (all wide-eyed innocence) You did. (Denying and defensive, but not belligerent) I didn’t.
Mom gives her the “Mom” stare, and Daisy breaks, laughing.
Daisy: She didn’t go for it anyway.
Em: (laughing at Daisy having been caught) Worst liar ever.
Mom: (serious) This ends now. Promise me.
Daisy: (with a sigh) Okay.
Mom: Thank you. (She returns to sorting and clipping papers.)
Em: Hey, Grandpa’s here.
Owen Foster (Charlotte’s dad) and a younger man enter.
Charlotte: Yeah, I’ve got a meeting with my new campaign manager.
Em: I can’t believe you’re seriously running for mayor.
Charlotte: I know. I’m out of my mind.
Grandpa greets Daisy with a hug and a kiss.
Em: (holding out her hand in a “gimme five” gesture) Hey, Pops. How’s it hangin’?
Granddad: Spectacularly. Never stop asking. (He gives a grinning Em a kiss on the temple.)
Introductions all around. The younger man is Jonathan Gray, the campaign manager Owen has hired. Daisy’s interest is peaked, and not by his credential.
Colorful dissolve to:
Interior, Maggie’s bedroom, Day:
VOJ tells us that at 5:00 every day, after she closes the gallery, Maggie takes Barn Dog for a walk.
VOJ: I used to go with her, when I could.
Maggie goes to her dresser, and we see a photo of her and Jake during happy times.
VOJ: I’m here. I wish you could feel me.
Maggie opens the top drawer and takes out a small ring box. She takes off the diamond ring and puts it away in the drawer.
VOJ: You don’t have to put that ring away, Maggie. I’m still here.
Maggie touches the photo gently.
Colorful dissolve to:
Interior, Police bullpen, Day:
Ben and Max enter and make their way to a desk. Max has changed into a white t-shirt under a dark, zip-up, lightweight knit jacket, and jeans. (Not exactly job-hunting attire.)
Ben: (To Max) There’s a guy I want you to meet. (They approach a man sitting at a desk.) Will, I’ve got Max here.
Will rises from his seat at the desk.
Will: Max! Damn! You had us worried, kid.
Max: (nods slightly) Yeah.
Ben: Will owns a dive boat. He’s looking for another man to work it.
Max avoids prolonged eye contact, pushes his hands into his pockets, nods his understanding.
Will: My second hand quit. I have a charter leaving tomorrow. You’ve gotta be there at 4 am, though.
Ben: That’s no problem, he can make it. (He puts a confident hand on Max’s shoulder.) Max loves boats. Been workin’ on ‘em since he was a kid.
Max glances at his dad, then looks away.
The phone rings, and Will excuses himself from the conversation. While he’s on the phone . . .
Ben: (to Max) It’ll be great, huh.
Max: Yeah. Sounds good. Um, it’s just that I’ve been thinking about that Alaska thing, too . . .
Ben: I pulled a favor from this guy. He already had another kid for the job.
Max: (frustrated) You always do this.
Ben: Always do what?
Max: Decide what’s good for me when you don’t have a clue. I mean, it’s cool that you try, it’s just—
Ben: You know, I used to have a clue. I remember how you used to be about the ocean.
Max gives this some thought. As Will hangs up the call he’s been on . . .
Max: 4 am, where?
Will: Pier 18.
Ben: Okay, you don’t have to do this—
Max: No, I want to. You’re right. It’s been too long since I’ve been out there.
And they’ve come to a tentative understanding or agreement.
Cut to:
Interior, Morgan living room (or parlor?), Day:
Jonathan is prepping Charlotte for her first interview as Granddad kibitzes. Jonathan wants to talk about Jake: cop killed in the line of duty, an amazing story.
“It’s not a story,” says Charlotte without a smile.
As Jonathan apologizes and tries another approach, Charlotte stares daggers at her father.
When Jonathan suggests sympathy votes, Charlotte cuts him off. She will not have Jake exploited. Granddad tries to make a point, but Charlotte says no, they talked about this, and it doesn’t change just because Owen brought in an “adolescent suit monkey with a big degree.” (Jonathan smirks at that.) Charlotte will not put her family through any more scrutiny. She wants to run on school programs, neighborhood revitalization, issues.
“We want to win,” Jonathan counters her. “You want to run on issues?”
Charlotte vehemently insists that they downplay the personal. “I’ll talk about my life. But not the kids, not Ben, and Jake is off limits.”
Color dissolve to:
Exterior, Street scene outside Marlowe’s, Day.
Gideon is waiting for Em outside the door (looks like the loading door). She snarks at him about getting a rep as a perv, hanging out outside a strip club waiting for her. You work at a strip club, he points out. I get paid, she says. Small talk about picking up her paycheck, she’s not working today, Gid says you pay a bartender for information, you expect it to be solid.
Em tells him there’s an easier way than just popping up whenever she’s working. He could ask her out. He’s getting to it. She wouldn’t say no. “You want to go out tonight?” he asks.
“No,” she says. “Max is thinking about going to Alaska so we’re doing this intervention.”
“Now I’m confused,” Gid says.
“I’m making dinner for my brother. It’s a big family thing. But we could go out after, if you don’t mind staying out late.”
Gid agrees. He tells her “The best pervin’ happens after dark.” She laughs at the joke.
Transition to:
Interior, Police station, Day:
Pedeconference, Ben and Max.
Max: So what’s up here? You busy?
Ben: Oh, yeah. You know.
Max: Police work is recession proof, huh.
Ben: Uh-huh.
Max: What about Eddie Marble? Where’s it at?
Ben: Well, you know, we’re watching 'im. Tough without a murder weapon.
Max: You even got a chance of nailing him after a year?
Ben: (defensive) We’ve been doing everything we can. We’ve been bustin' our asses.
Max: I’m not sayin’ anything.
Ben: I know what you’re sayin’.
Max: I just don’t understand how this happens. I mean somebody obviously missed something. The guy’s sitting next to Jake’s body when they found him.
Ben: (stops in the hallway and turns on Max) You’ve got a lot of nerve, you know that? You don’t have any idea what I’ve been doing. Or what your family went through while you were off taking pictures?
Max: (on his own defensive) You think I was havin’ fun? I wasn’t doing that for me.
Ben: It’s always for you. Everything’s always about you.
Max: Because I don’t live by your rules, I’m selfish.
Ben: All I’ve ever asked of you is that you respect this family. Were you thirteen the first time you ran away?
Max: I didn’t run away. I was coming back.
Ben: We didn’t know what you were doing! You could have been laying in a ditch somewhere. This last time takes the cake. You think I don’t get you? I get you, Max. To the core.
Ben walks off in the direction from which they just came, leaving Max alone. Max continues down the hallway toward the exit.
Dissolve to Close Up of journal pages. Dissolve again to:
Interior, Em’s room, Day:
Em is on her bed reading Jake’s journal.
VOJ: Emily’s got my journal again. I guess I should be glad that most of it is as boring as hell. Maybe she’ll pass out before she gets to the parts I don’t want her to see.
Em: (reading an entry) 37 Channel. Last night. Scored. (“Scored” is underlined.)
Em is very puzzled.
VOJ: “Scored”? Why did I even write it down? You don’t even want to know this stuff. Please, just put it down.
Max opens Em’s bedroom door without knocking. Em jumps up and throws the journal into a wall vent and takes a defensive stance. Max leans into the room.
Max: What’s that?
Em: (sarcastically) Crack. Can you knock?
Max sets his jaw and turns away. Em sees she’s probably hurt him.
Cut to:
Interior, Max’s room, Day:
Max is packing a backpack, stuffing clothes in haphazardly, as Em wanders in, props herself in a half standing/half sitting lean on Max’s desk.
Em: (not unsympathetic) So, the dad thing went well, huh.
Max: It’s just better if I’m someplace else. I don’t even know what I’m doing here. It’s good to see you guys, but . . .
EM: Max . . .
Max: (stops packing for a moment. His tone is helpless resignation.) I can’t even talk to him, Em. I mean, he got me this job, and Mom wants me to go back to school; all I want to do is make money so I can take pictures. I’m sick of letting everybody down, you know?
Em: (she does know, as if from experience) A little bit, yeah.
Max: (resuming packing) It’s like when I do what I want to do, I just end up hurting people. So, I should just go before I start doing it again.
Em: (moves from the desk to sit on Max’s bed. She grabs the backpack and hugs it to her chest.) Max, stop. Slow down. Let’s go out and do something. Have some fun. See if you still feel like bailing in the morning.
Max: I’m not really in the mood. (He picks a camera up off his desk to pack.)
Em: (grabs Max by the wrists when he’s near and pulls him down onto the bed next to her.) You cannot just keep running away. Jerk.
Max doesn’t reply.
Em: Come on. Give me a chance. One night to change your mind.
Max: (after a moment for consideration, resignedly) Alright. (He lifts the camera up one-handed, carelessly points it at Em, and clicks the shutter. Em smiles.)
Cut to:
Interior, Daisy’s room, Moments later:
Daisy is at her desk writing. Em enters without knocking, her body language reading urgency, possibly desperation. She closes the door and leans against it.
Daisy: Knock!
Em: You’re right. Max and Maggie have to get back together, or he’s gone.
Daisy looks concerned by this revelation. Em braces herself against Daisy’s desk, all fierce determination.
Em: We’re going out.
BLACK
Continue to Acts III, IV, & V
For the previouslies, check here and here. For a portrait of the Morgan family, check here. Note that this third site is dead, for obvious reasons.
Still Life, "Dead Serious" recap, from the beginning of the beta-cam tape . . .
Color Bars
Episode ID:
20th Century Fox TV
STILL LIFE
“Dead Serious”
Ep. #1AHJ01
EDITED MASTER
TR=44:53
1.30.04
Bart Simpson does channel and phase checks for sound. Again, bwah!
A/N . . . Dramatis personae reminder: “Dad” and “Ben” are the same person. “Mom” and “Charlotte” are the same person. “Granddad” and “Owen Foster” are the same person, Charlotte’s father. Also, in the opening credits, the characters are not listed with the actor names, but I’ll put them in [brackets] so you know. Also, for those just joining us, VOJ is Voice of Jake or Voice-Over Jake.
First, the previouslies.
Act 1
Picture opens on wispy clouds that dissolve into the Hollywood version of Heaven. Jake, in his cop uniform, walks up to a man dressed in white who is holding a clipboard.
VOJ: You know in the movies when you die, it’s like this white world with all these clouds. And then there’s a guy in a white suit with a clipboard, an old guy or Morgan Freeman, but always lookin’ sharp in that suit.
Angel: Welcome to the afterlife. Here’s how it works.
VOJ: It’s not like that. At least not for me.
Flashes of Jake’s body being found, his grave, etc.
VOJ: Some of the time I’m here. It doesn’t seem like much, but I feel . . . there isn’t even a word for it . . . perfect, only better.
Colors blend together, ending on red, that pulls out to be the top of Maggie’s red beret.
VOJ: But as good as that feels, I’d trade it for a look at my girl Maggie every time.
Camera cranes down to regular position, showing
Exterior, Morgan house, Day:
Maggie walks up the Morgan driveway.
Colors, blurred focus, impression of family in the Morgan kitchen.
VOJ: Okay, yeah, that’s the other thing—I bounce around like crazy.
Jump cuts and shaking camera of Mom in kitchen, Daisy sitting on the counter, Max sitting on the stairs tying his shoes, Em having breakfast.
VOJ: Like, I just thought about my family, and now, here I am.
Camera settles in.
Max (wearing a maroon t-shirt and grey sweat pants that hit about mid-shin. The shirt has “Ted’s Lounge” in blue sporty script across the front) enters kitchen as Mom is fixing breakfast. Em settles at the kitchen island with a mug in hand, and Daisy is sitting cross-legged on the counter with her own mug.
Mom: (To Max) Breakfast?
Max: Nope. I’m gonna go for a run. (Max retrieves orange juice from the fridge.)
Mom: Em?
Em: Nope. Got it. (She holds up her mug.)
Mom: That’s not protein.
Em: (defensively) It’s soy milk!
Mom: Chicken eggs! (As she scoops some out onto Em’s plate, much to Em’s dismay. Em curls her lip and shrugs away.)
As Max is getting a glass from the cupboard,
Mom: (to Max) So I was, uh, thinking that it’s probably not too late to enroll in the junior college.
Dad enters.
Dad: Who turned off the alarm? (He kisses Charlotte.)
Mom: You did, honey.
Dad: (as he puts on his suit coat, to Max, indicating Max’s athletic attire) I thought you were coming in with me. Aren’t you gonna turn in some applications downtown?
Max looks a little uncomfortable, uncertain.
Max: Oh, right. Um, it’s just that I don’t know what I’m doing yet. A friend told me about this job in Alaska.
That brings the family (particularly Em, Mom, and Dad) up short.
Max: And it pays really well, and when I’m done, I can just do my photography, so . . . (deep breath. He’s tested the water, and it’s definitely chilly) but . . . I’m just thinking about it. I haven’t really decided.
Dad: You even look for work in town?
Max: Yeah, it’s just—it’s hard and—
Dad: I gotta go. We’ll talk later. (And he turns to leave, throwing a kiss to the girls.)
Mom: (calling after him) Home on time! Emily’s cooking dinner!
Ben meets Maggie at the front door.
Mag: Uh, hi. (She pulls off her beret and indicates the large bag on her shoulder.) Uh, I just came by to drop these off for Max.
Ben: Yeah, sure. Go on in, hon. He’s home. For the moment.
In the kitchen:
Em: (to Max) Why would you take off again, spaz? You just got home.
Max returns the pitcher of OJ to the fridge, then drags a hand across his face in frustration.
Maggie enters.
Mom: (delighted) Maggie!
Maggie: I’m interrupting.
Max: It’s okay.
He looks to Mom and sisters for confirmation.
Mom: Of course it is. (She indicates a stool at the island.) Sit down. I’ll get you a cup of coffee.
Mag: I can’t stay. (She reaches into her bag.) I just wanted you to have these (and pulls out some framed photographs. She hands them to Max, who looks through them. They are his photos from Paris). I put a few in frames. It’s just . . . they were exceptional, so . . .
Em and Daisy watch the proceedings with interest.
Max: (looking through the pictures) Thanks. Thank you.
There’s a momentary pause. Maggie offers a small smile, uncertain.
Max: (attention back on Maggie) Are you sure you don’t want anything to eat or drink?
Maggie: I would. I have to run.
Max: I’ll walk you out.
Mom, Em, and Daisy and Maggie wave goodbye to each other as Maggie leaves. The Morgan ladies then exchange knowing looks between each other until Mom tells the girls, “Eat.”
Cut to:
Interior, Front hall, Day:
In the front hall, Max walks Maggie to the front door.
Max: So, maybe we could go grab some coffee or something sometime.
Maggie: (absently twisting her beret in her hands) Max, I don’t think that’s a good idea.
Max: Why not? I just thought that—
Maggie: What, I’d find out what you did last year and forgive all?
Ouch. Max doesn’t know what to do with that.
Maggie: It’s a beautiful gesture, but—
Max: (resigned, recognizing himself for the screw-up he thinks he is) No, I screwed up. I did. I mean, I shouldn’t have taken off the way I did, and I shouldn’t have come on so strong with you when I got home.
Maggie: It’s just . . . none of it matters. We’ve hurt each other too much. We can’t fix that.
Max: I can. (furrowing his brow with hopeful determination—you’ve seen this expression on Dean many times) I mean, I think we can.
Maggie: Do you have a time machine?
Maggie is regretful, Max is disappointed and rejected. Maggie lets herself out the front door as Max watches her go.
Max returns to the kitchen and announces, “I’m going out,” as he grabs something from the counter (his wallet?) and leaves without a backward glance.
Em: Man, those two need to get a room.
Mom looks surprised, like she can’t believe Em would make such a suggestion.
Em: Not that they should. Bad idea.
Mom: It’s a terrible idea.
Daisy: Why?
Mom looks at Daisy like she’s nuts, and Em rolls her eyes.
Daisy: (getting excited about the idea) No, maybe that’s the exactly right idea. No, Max and Maggie back together.
Em: Jake stole Maggie from Max. Nice girl, but she caused, like, biblical unhappiness in this house.
Daisy: But it’s so obvious that they still love each other. No, maybe if we help them, Max would stay in town.
Em: (laughing off the idea) Help them? You can’t be serious.
Mom: Come on. The boys weren’t even speaking when Jake died. All over Maggie.
Daisy: But that’s done. Mom, Maggie is still so sad. Max, he spent a year in Paris taking Jake’s ashes around. I mean, both of them, they loved Jake so much. They understand each other, they could help heal each other.
Mom comes up to Daisy, takes her face in her hands, and kisses her on the forehead.
Mom: I love the way you think. (Points a finger firmly) You stay out of it. There’s too much history with those two. (Mom exits scene.)
Em: (picking up a notebook, getting ready to leave scene) Sorry, Dais. Terrible plan. (Em exits scene.)
VOJ: I’m with you, Em. The worst.
Daisy is left alone, smiling as the wheels in her brain are concocting a way to carry out her plan.
VOJ: Uh-oh. I know that look.
Daisy: Don’t be mad, Jake, but I am totally gonna do this.
OPENING SEQUENCE:
Theme song:
What if you knew I could see
Down a road where you are
‘Cause you know that I’m here when you’re laughing,
And to life we could hold on.
So let it shine. **
Smile, can you hear me,
And I’m callin’ out to you.
**Three people, myself included, tried to decipher this line. This is the closest we could make out, but I’m not convinced this is correct. It did, however, make more sense than anything else we could come up with.
Cast:
David Keith [Ben Morgan]
Jensen Ackles [Max Morgan]
Audrey Marie Anderson [Emily Morgan]
Jeanette Brox [Daisy Morgan]
Morena Baccarin [Maggie Jones]
Bryce Johnson [Jake Morgan]
and
Susanna Thompson [Charlotte Morgan]
Created by Kip Koenig
BLACK
(Note: This ep was written by Marti Noxon.)
Act II
Interior, Maggie’s gallery, Day:
Daisy has stopped by to visit Maggie. They’re puzzling over a new art display that appears to be nothing more than white canvas panels hung on the wall. Daisy asks if there’s even paint on these. Maggie laughs and says she doesn’t know. Her boss sent them from New York. He’s either sleeping with the artist or very, very drunk.
Daisy says she was just in the area buying clothes for school. She didn’t get much, just a frame, leg warmers, and a little plastic monkey that flings toy poop. They both laugh, and Daisy proclaims that she really shouldn’t be allowed to carry her own money. Maggie laughs and says Daisy’s fine. People actually pay money for “this stuff,” indicating the artwork.
Awkward pause as neither girl knows what to say. Daisy notices Maggie nervously twisting an engagement ring around her finger.
Maggie: I know, it’s weird. I still wear Jakes ring.
Daisy: No, it’s not. It’s sweet.. I know things sucked with the family because of what happened with you and Max and Jake, but, um, everybody still really loves you.
Maggie: Daisy . . .
Daisy: You know, you should come by for dinner sometime. No big deal.
Maggie: I wish I could. It’s just too complicated.
Transition to:
Interior, Morgan dining area (the kitchen area with the island is open space into the dining area; they’re one big room), Day:
Mom is shuffling papers and clipping them together, Em has her feet propped up on the dining table, reading. Daisy enters with her small shopping bags.
Daisy: Shopping.
Mom: What?
Daisy: Oh. You asked me what I was doing.
Mom: No. (She notices the bags. Knowing and suspicious) You went downtown.
Daisy: (trying not to look guilty of subterfuge) Mmhm. Shopping.
Mom: Where Maggie’s gallery is? (Now her knowing smile fades.) I thought I made myself clear.
Daisy: (all wide-eyed innocence) You did. (Denying and defensive, but not belligerent) I didn’t.
Mom gives her the “Mom” stare, and Daisy breaks, laughing.
Daisy: She didn’t go for it anyway.
Em: (laughing at Daisy having been caught) Worst liar ever.
Mom: (serious) This ends now. Promise me.
Daisy: (with a sigh) Okay.
Mom: Thank you. (She returns to sorting and clipping papers.)
Em: Hey, Grandpa’s here.
Owen Foster (Charlotte’s dad) and a younger man enter.
Charlotte: Yeah, I’ve got a meeting with my new campaign manager.
Em: I can’t believe you’re seriously running for mayor.
Charlotte: I know. I’m out of my mind.
Grandpa greets Daisy with a hug and a kiss.
Em: (holding out her hand in a “gimme five” gesture) Hey, Pops. How’s it hangin’?
Granddad: Spectacularly. Never stop asking. (He gives a grinning Em a kiss on the temple.)
Introductions all around. The younger man is Jonathan Gray, the campaign manager Owen has hired. Daisy’s interest is peaked, and not by his credential.
Colorful dissolve to:
Interior, Maggie’s bedroom, Day:
VOJ tells us that at 5:00 every day, after she closes the gallery, Maggie takes Barn Dog for a walk.
VOJ: I used to go with her, when I could.
Maggie goes to her dresser, and we see a photo of her and Jake during happy times.
VOJ: I’m here. I wish you could feel me.
Maggie opens the top drawer and takes out a small ring box. She takes off the diamond ring and puts it away in the drawer.
VOJ: You don’t have to put that ring away, Maggie. I’m still here.
Maggie touches the photo gently.
Colorful dissolve to:
Interior, Police bullpen, Day:
Ben and Max enter and make their way to a desk. Max has changed into a white t-shirt under a dark, zip-up, lightweight knit jacket, and jeans. (Not exactly job-hunting attire.)
Ben: (To Max) There’s a guy I want you to meet. (They approach a man sitting at a desk.) Will, I’ve got Max here.
Will rises from his seat at the desk.
Will: Max! Damn! You had us worried, kid.
Max: (nods slightly) Yeah.
Ben: Will owns a dive boat. He’s looking for another man to work it.
Max avoids prolonged eye contact, pushes his hands into his pockets, nods his understanding.
Will: My second hand quit. I have a charter leaving tomorrow. You’ve gotta be there at 4 am, though.
Ben: That’s no problem, he can make it. (He puts a confident hand on Max’s shoulder.) Max loves boats. Been workin’ on ‘em since he was a kid.
Max glances at his dad, then looks away.
The phone rings, and Will excuses himself from the conversation. While he’s on the phone . . .
Ben: (to Max) It’ll be great, huh.
Max: Yeah. Sounds good. Um, it’s just that I’ve been thinking about that Alaska thing, too . . .
Ben: I pulled a favor from this guy. He already had another kid for the job.
Max: (frustrated) You always do this.
Ben: Always do what?
Max: Decide what’s good for me when you don’t have a clue. I mean, it’s cool that you try, it’s just—
Ben: You know, I used to have a clue. I remember how you used to be about the ocean.
Max gives this some thought. As Will hangs up the call he’s been on . . .
Max: 4 am, where?
Will: Pier 18.
Ben: Okay, you don’t have to do this—
Max: No, I want to. You’re right. It’s been too long since I’ve been out there.
And they’ve come to a tentative understanding or agreement.
Cut to:
Interior, Morgan living room (or parlor?), Day:
Jonathan is prepping Charlotte for her first interview as Granddad kibitzes. Jonathan wants to talk about Jake: cop killed in the line of duty, an amazing story.
“It’s not a story,” says Charlotte without a smile.
As Jonathan apologizes and tries another approach, Charlotte stares daggers at her father.
When Jonathan suggests sympathy votes, Charlotte cuts him off. She will not have Jake exploited. Granddad tries to make a point, but Charlotte says no, they talked about this, and it doesn’t change just because Owen brought in an “adolescent suit monkey with a big degree.” (Jonathan smirks at that.) Charlotte will not put her family through any more scrutiny. She wants to run on school programs, neighborhood revitalization, issues.
“We want to win,” Jonathan counters her. “You want to run on issues?”
Charlotte vehemently insists that they downplay the personal. “I’ll talk about my life. But not the kids, not Ben, and Jake is off limits.”
Color dissolve to:
Exterior, Street scene outside Marlowe’s, Day.
Gideon is waiting for Em outside the door (looks like the loading door). She snarks at him about getting a rep as a perv, hanging out outside a strip club waiting for her. You work at a strip club, he points out. I get paid, she says. Small talk about picking up her paycheck, she’s not working today, Gid says you pay a bartender for information, you expect it to be solid.
Em tells him there’s an easier way than just popping up whenever she’s working. He could ask her out. He’s getting to it. She wouldn’t say no. “You want to go out tonight?” he asks.
“No,” she says. “Max is thinking about going to Alaska so we’re doing this intervention.”
“Now I’m confused,” Gid says.
“I’m making dinner for my brother. It’s a big family thing. But we could go out after, if you don’t mind staying out late.”
Gid agrees. He tells her “The best pervin’ happens after dark.” She laughs at the joke.
Transition to:
Interior, Police station, Day:
Pedeconference, Ben and Max.
Max: So what’s up here? You busy?
Ben: Oh, yeah. You know.
Max: Police work is recession proof, huh.
Ben: Uh-huh.
Max: What about Eddie Marble? Where’s it at?
Ben: Well, you know, we’re watching 'im. Tough without a murder weapon.
Max: You even got a chance of nailing him after a year?
Ben: (defensive) We’ve been doing everything we can. We’ve been bustin' our asses.
Max: I’m not sayin’ anything.
Ben: I know what you’re sayin’.
Max: I just don’t understand how this happens. I mean somebody obviously missed something. The guy’s sitting next to Jake’s body when they found him.
Ben: (stops in the hallway and turns on Max) You’ve got a lot of nerve, you know that? You don’t have any idea what I’ve been doing. Or what your family went through while you were off taking pictures?
Max: (on his own defensive) You think I was havin’ fun? I wasn’t doing that for me.
Ben: It’s always for you. Everything’s always about you.
Max: Because I don’t live by your rules, I’m selfish.
Ben: All I’ve ever asked of you is that you respect this family. Were you thirteen the first time you ran away?
Max: I didn’t run away. I was coming back.
Ben: We didn’t know what you were doing! You could have been laying in a ditch somewhere. This last time takes the cake. You think I don’t get you? I get you, Max. To the core.
Ben walks off in the direction from which they just came, leaving Max alone. Max continues down the hallway toward the exit.
Dissolve to Close Up of journal pages. Dissolve again to:
Interior, Em’s room, Day:
Em is on her bed reading Jake’s journal.
VOJ: Emily’s got my journal again. I guess I should be glad that most of it is as boring as hell. Maybe she’ll pass out before she gets to the parts I don’t want her to see.
Em: (reading an entry) 37 Channel. Last night. Scored. (“Scored” is underlined.)
Em is very puzzled.
VOJ: “Scored”? Why did I even write it down? You don’t even want to know this stuff. Please, just put it down.
Max opens Em’s bedroom door without knocking. Em jumps up and throws the journal into a wall vent and takes a defensive stance. Max leans into the room.
Max: What’s that?
Em: (sarcastically) Crack. Can you knock?
Max sets his jaw and turns away. Em sees she’s probably hurt him.
Cut to:
Interior, Max’s room, Day:
Max is packing a backpack, stuffing clothes in haphazardly, as Em wanders in, props herself in a half standing/half sitting lean on Max’s desk.
Em: (not unsympathetic) So, the dad thing went well, huh.
Max: It’s just better if I’m someplace else. I don’t even know what I’m doing here. It’s good to see you guys, but . . .
EM: Max . . .
Max: (stops packing for a moment. His tone is helpless resignation.) I can’t even talk to him, Em. I mean, he got me this job, and Mom wants me to go back to school; all I want to do is make money so I can take pictures. I’m sick of letting everybody down, you know?
Em: (she does know, as if from experience) A little bit, yeah.
Max: (resuming packing) It’s like when I do what I want to do, I just end up hurting people. So, I should just go before I start doing it again.
Em: (moves from the desk to sit on Max’s bed. She grabs the backpack and hugs it to her chest.) Max, stop. Slow down. Let’s go out and do something. Have some fun. See if you still feel like bailing in the morning.
Max: I’m not really in the mood. (He picks a camera up off his desk to pack.)
Em: (grabs Max by the wrists when he’s near and pulls him down onto the bed next to her.) You cannot just keep running away. Jerk.
Max doesn’t reply.
Em: Come on. Give me a chance. One night to change your mind.
Max: (after a moment for consideration, resignedly) Alright. (He lifts the camera up one-handed, carelessly points it at Em, and clicks the shutter. Em smiles.)
Cut to:
Interior, Daisy’s room, Moments later:
Daisy is at her desk writing. Em enters without knocking, her body language reading urgency, possibly desperation. She closes the door and leans against it.
Daisy: Knock!
Em: You’re right. Max and Maggie have to get back together, or he’s gone.
Daisy looks concerned by this revelation. Em braces herself against Daisy’s desk, all fierce determination.
Em: We’re going out.
BLACK
Continue to Acts III, IV, & V
