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Episode No. 26 - Opening Night - Part 2

written by Jim Brooks

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About this story

Published: 06 Sep 2001 | Size: 83 KB (16377 words) | Language: english | Rating: PG-13
Average: 4.2/5   4.2/5 (84 votes)

based on stories and characters created by Winnie Holzman


Last time on My So-Called Life
:

LERNER: Is there a...a  special someone?

KATIMSKI: Well, yes, he’s um...he’s –

LERNER: He?

KATIMSKI: Mm-hmm.

LERNER: (whispers) You’re gay?

RAYANNE: What’s goin’ on with you and Kyle?

SHARON: Nothing! There’s absolutely nothing going on between us...

RAYANNE: You get too emotionally involved with guys…whenever you get involved with a guy, you’re gonna get hurt.

KELLY: What’s your name?

BRIAN: Brian.

KELLY: I’m Kelly.

LERNER: He told me he’s a homo-sexual.

CHAVATAL: I’m just remembering Kathy Krzynowski telling me that he took in a student. Rickie Vasquez?

LERNER: The boy that wears make-up?

FOSTER: Something has come to my attention involving one of our teachers -- Richard Katimski -- and one of our students -- Enrique Vasquez.

KELLY: Hey, Brian.

JORDAN: Go get her number.

BRIAN: Oh, I have her number. I work with her.

JORDAN: So what are you waitin’ for? Give her a call.

FOSTER: ...a homo-sexual teacher living with a young boy who is also obviously very confused about his own sexuality...I’m sorry, this just cannot continue under any circumstances.

KATIMSKI: And if I don't give him up?

FOSTER: Richard, you don't need that kind of media harassment. Neither does Rickie. Neither does the school...No one wants to fire you...but for your own benefit, it may have to come down to that.

RAYANNE: What you gotta do with Kyle is, you gotta play his game…You wanna get back at him? Do to him what he did to you. And then, when it’s no fun anymore? Say,  Bye-bye, Kyle.

 

KATIMSKI: ...there's no easy way to put this.

RICKIE: He knows, right?

KATIMSKI: Uh, well, it would seem that way, yes. Which means that I'll probably lose my job...but --

RICKIE: I can -- I can find a new place --

KATIMSKI: No --

RICKIE: (cont’d)  -- I mean, I can stay somewhere else.

KATIMSKI: ...if I have to give up my job to, to keep you off the streets, then...so be it.

RICKIE: No, you don't have to --

KATIMSKI: I can get a new job easier then you can get another home.

BRIAN: ...have you seen Scenes From a Memory?

KELLY: No, but I wanna see it. That looks really good.

BRIAN: Would you wanna, like...see that? Movie?

KELLY: On Friday?

BRIAN: Oh, yeah, I guess, if you want.

KELLY: Yeah, I guess.

HALLIE: (excited) Do you believe it? This Friday...two more days and we open!

SHARON: ...are you, like, doin’ anything this Friday?

KYLE: Tonight? (beat) Why? What -- ?

SHARON: I don’t know, maybe we could...like, do something.

BRIAN: ...Kelly, this is Angela.

KELLY: Hi.

ANGELA: …I was gonna ask you something, but you’re busy, so...I mean, you are, right?

BRIAN: Yeah, I’m busy.

A very slight, proud smile crosses Brian’s face.

ANGELA: (with a hint of jealousy) Okay, well...I’ll ask you about it later.

Angela walks down the hallway.           

KELLY: Friend of yours?

BRIAN: Um, she’s just my neighbor.

RICKIE: ...I may not be able to stay with Mr. Katimski anymore.

ANGELA: Why? What happened?

RICKIE: Foster found out, and, uh...he threatened to fire Mr. Katimski.

ANGELA: What’re you gonna do?

RICKIE: (beat) Something.

ANGELA: (VO) And as Brian tried to figure out some problem, I realized something. I was jealous...of Brian’s girlfriend.

Angela is watching him in awe of his intelligence. She smiles and tilts her head. He doesn't notice.

PATTY: ...tomorrow’s the big night?

GRAHAM: Are you gonna be there?

PATTY: Oh, no, I can’t. I thought I told you, I have a late meeting with some people from Cabrun Ink.

GRAHAM: (not caring) Oh, okay.

PATTY: I’m sorry.

GRAHAM: It’s okay.

ANGELA: (VO) It’s, like, I can just see my parents  relationship deteriorating right before my eyes.

AMBER: So, the big day’s tonight?

RAYANNE: Mm-hmm.

AMBER: Now, you know I can’t make it, right?

RAYANNE: You’re not gonna be there?

AMBER: I’m sorry, Raynie. (hugs her) You’re gonna be so good. You’ll stop the show, you’ll see.

RICKIE: (VO) Mr. Katimski, thank you for giving me a home. I cannot be responsible for you losing your job. I couldn’t continue living here knowing I caused that. I put you in this situation, and there’s only one thing I can do. I have to do this. Thank you again.

Rickie opens the door, takes one last look into the living room, wipes a tear from his eye, and walks out the door, closing it behind him. The shot of Katimski’s empty living fades to black.



OPENING NIGHT, PART 2


ACT I


INT. GLASS MOON - DINING ROOM - FRIDAY NIGHT

In the Glass Moon, we see many people enjoying their food. A food critic for the local paper talks to his waitress and smiles as she hands him the check. Across the room, Neil, Danielle, and Angela are enjoying their meal. Graham peaks out through the kitchen door, looking around the room. In the front, Hallie sees him and displays a big, shining smile. He smiles back at her as they watch the success unfold.


INT. KYLE’S HOUSE - LIVING ROOM - NIGHT

It is pitch black in the living room. A slight outline of two people can be seen on the couch. We hear kissing, and as we move in, it’s easier to see that it is Kyle and Sharon. The kissing stops.

KYLE: So, I don’t get it. What made you decide to just, like...talk to me again.

SHARON: I don’t know. Change of heart?

She kisses him.

KYLE: (happy) Good enough for me.

They kiss more, and Kyle stops again.

KYLE: So, like --

SHARON: Shh. Less talk, more kiss.

Kyle smiles, and they continue to kiss.


INT.  LIBERTY HIGH - AUDITORIUM - BACKSTAGE

People are running around frantically, making last minute preparations for the show. Rayanne is standing in the corner, going over her lines one last time. Mr. Katimski comes in through a side door. He looks both ways through the sea of faces. He doesn’t seem to be able to find what he is looking for. He approaches Rayanne.

KATIMSKI: Uh, Rayanne, uh, ah, have you seen Rickie? Anywhere?

RAYANNE: (looks around) Nope.

KATIMSKI: He told me he’d be here...um...after school. I had to run a few errands. (beat) Where could he be?

ALTERNATING SCENE:


INT.  AUDITORIUM - BACKSTAGE - CONTINUOUS

and


INT.  KATIMSKI’S APARTMENT – THAT MOMENT

Katimski goes to use a payphone on the side of the stage. He inserts several coins and dials.

In Katimski’s apartment, the phone rings and Joseph gets up to answer it.

JOSEPH: Hello?

KATIMSKI: It’s me. Is Rickie there?

JOSEPH: No, uh --

KATIMSKI: I don’t -- where is --

JOSEPH: Richard, I just got home from work. He must’ve stopped by a little while ago. I found a note.

KATIMSKI: What, what, he left a letter, he -- ?

JOSEPH: Richard, Richard... (beat) You better sit down.


INT/EXT. BRIAN’S CAR - NIGHT

Brian drives slowly down a small street, looking up at the addresses of the houses. Finally, he comes to the house he is looking for and double parks. He gets out of his car and takes a deep breath as he prepares to walk up to Kelly’s door and knock for her.


EXT. KELLY’S HOUSE - CONTINUOUS

Brian walks up to the front door and stops. He knows that once he knocks on that door, there’s no going back. As Brian tries to build up the courage to finally knock on the door, the door opens and Kelly is standing there in the doorway.

KELLY: Brian.

BRIAN: Hi.

KELLY: Were you standing here long?

BRIAN: Oh, no, I was...I was just about to knock.

CUT TO:


INT. BRIAN’S CAR - MOMENTS LATER

Brian and Kelly are in his cramped compact car, on their way to the mall to see a movie.

KELLY: So, thanks for driving me and everything. I can’t wait to get my license. I hate taking the bus, ya know? So, like, dirty and unreliable.

There is a beat as Brian thinks of something interesting to say.

BRIAN: Yeah.

Brian looks away from Kelly and flinches in pain at his lackluster response.

BRIAN: I mean, uh...it’s great, ya know...being able to go where you wanna go, just...whenever.

KELLY: Well, hey, I have my permit. Maybe you could teach me sometime.

BRIAN: Oh, I wouldn’t be, like, allowed to, actually.

KELLY: No?

BRIAN: Yeah, I’d have to be twenty-one. That’s, like, a law.

KELLY: I didn’t know that.

There is a long pause in the conversation. Kelly is cool and she just sits back, relaxed. Brian, however, is under intense pressure from himself to strike up conversation and avoid awkward silences.

BRIAN: But, yeah.… (long beat) So, how ‘bout this movie?

KELLY: Should be good. Can’t wait to see it.

BRIAN: Definitely.

There is another silence. Kelly looks at Brian and smiles. He returns one of his typical awkward smiles back at her.


INT.  CHASE RESIDENCE - LIVING ROOM - NIGHT

Patty has just returned home from her late meeting. She is just settling down on the couch when the door opens and Neil walks in with Angela and Danielle. Patty gets up to greet them.

PATTY: Thanks for taking them, Neil.

NEIL: Oh, no problem.

PATTY: So, how was it?

ANGELA: Oh, the food was really good, mom.

NEIL: It was, actually. It was very good. I think they got somethin’ together there.

PATTY: (over-animated) Wonderful.

ANGELA: (VO) But some kind of intuition was telling me it was far from wonderful.


INT.  AUDITORIUM - BACKSTAGE

People are still scurrying around, making last minute preparations for the show. Katimski has gotten off the phone with Joseph. He looks worried.

KATIMSKI: (loudly) Can I have everyone’s attention?

Some people turn to Katimski, but most people have not heard him. There is a lot of activity going on as Katimski tries to get everyone’s attention.

KATIMSKI: (loudly) Everyone? Can I have your attention? (beat) Please, I need everyone’s attention.

Everyone is now watching Katimski.

KATIMSKI: (acting calm) Um, I don’t know how to...break this to you all, but, uh...well, there’s a little problem. Uh, it’s uh, ah, something personal, don’t worry about it, but...it’s something...that I have to take care of right now. So, I’m sorry, but I’m going to have to leave for the time being.

Everyone groans.

ANNON 1: What?!

ANNON 2: Oh, great.

ANNON 3: What’re we supposed t’do?

ANNON 4: Is the show still gonna go on?

KATIMSKI: I will be back. I shouldn’t be gone too long. Don’t worry, you can handle yourselves while I’m gone. It’s gonna be a great show tonight and I have complete confidence in everyone in this room. Okay? Thank you.

As Katimski puts on his coat, Rayanne approaches him.

RAYANNE: Mr. Katimski, uh, did you find out where Rickie was?

Katimski gives her a distressed look and leaves. Now Rayanne looks worried. A girl walks up to Rayanne.

GIRL: Rayanne, let’s go, we’re starting.

Rayanne watches, worried, as Katimski leaves, then to the curtain where she’s about to go on.


INT.  MOVIE THEATER - LOBBY

Brian and Kelly walk through the over-decorated lobby of the Three Rivers Mall Cineplex. They are both dressed casually; however; Brian has obviously put a little too much preparation into his appearance while Kelly is calm and comfortable.

Brian is passed the initial wave of nervousness, but he’s still a little more clumsy than usual.

BRIAN: D’ya wanna get something to drink first or something?

KELLY: Mmm... (thinking) Ooh! Ya think they have those -- like, those little chocolate-covered peanut things?

BRIAN: What are they called?

KELLY: Chocolate-covered peanuts?

Brian smiles at his own foolishness. He steps up to the counter and a clerk walks over.

CLERK: What can I get ya?

Brian looks through the glass at the selection.

BRIAN: Uh...we’ll just have a large popcorn and some chocolate-covered peanuts.

KELLY: And drinks.

BRIAN: Oh, yeah. Two... (to Kelly) Cokes?

KELLY: Okay.

BRIAN: Cokes. Two. (beat) Two cokes.

CLERK: Popcorn, peanuts, and two cokes.

BRIAN: Yep.

As the clerk gets the snacks, Brian takes out his wallet and begins to pull out bills.

KELLY: What are you doing?

BRIAN: What?

KELLY: You don’t have to pay for me.

BRIAN: No, it’s okay, I have plenty of money on me.

KELLY: We both make the same salary. I can afford it.

BRIAN: I know, but it’s no problem. Let me pay for it. That’s what guys are supposed to do, right?

KELLY: This is the nineties. Women have money too.

BRIAN: (laughs) No, I know, but it’s no problem, really. I wanna pay.

KELLY: I’m not gonna argue. If you wanna pay for it...I mean, far be it for me to pass up free food, right?

Brian smiles as the clerk rings the snacks up.

CLERK: That’ll be twelve-fifty.

BRIAN: Okay, uh.…

Brian thumbs though his wallet. He pulls out a ten-dollar bill.

BRIAN: Uh-oh.

KELLY: What?

Brian goes through his wallet, expecting there to be more.

BRIAN: (embarrassed) Do you have two dollars and fifty cents?

KELLY: (laughs) Yeah.

BRIAN: Sorry. I thought this ten was a twenty.

KELLY: It’s okay.

Kelly hands him the money and smiles. Brian smiles back at her. He can’t believe how cool and calm she is.


INT.  LIBERTY HIGH - AUDITORIUM - STAGE

Opening night of
Our Town and there is a large crowd. There is a sense of anxiousness in the air without Mr. Katimski there. Rayanne, as Emily, is on stage.

RAYANNE: (softly) I can't bear it. They're so young and beautiful. Why did they ever have to get old? Mama, I'm here. I'm grown up. I love you all. (beat; she looks worried) I can’t look at anything. (beat) There's.... (begins walking across the stage) There’s.…

Rayanne begins to panic. She begins to remember something...on stage...Let’s Bolt...she can’t remember the lyrics. The scene flashes through her head. She looks out into the crowd as everyone in attendance stares at her. Rayanne has forgotten her lines.


INT.  KATIMSKI’S APARTMENT - LIVING ROOM

Joseph is sitting on the couch watching TV when there is a knock on the door. He gets up and opens it. It’s Katimski.

KATIMSKI: Get your coat on.

JOSEPH: Why?

KATIMSKI: We’ve got to go look for Rickie. We’ll take my car.

JOSEPH: Don’t you have the play tonight?

KATIMSKI: It’s just a play. It can wait. This is an emergency.

JOSEPH: Well, where do you think he went?

KATIMSKI: I don’t know, but we have to look. He could be anywhere.

The front door shuts behind them and we

CUT TO:


INT. MOVIE THEATER - NIGHT

We’re inside the theater, which is laid out with stadium seating. The lights are dimmed and the movie is nearly over.

As Brian and Kelly watch a pivotal scene in the film, Brian reaches for a handful of popcorn. As he does this, he looks over at Kelly who is so engrossed in the film that she’s unaware of Brian’s stare. Brian looks at her and smiles slightly, thinking he’s found the perfect girl.

CUT TO:


EXT. MOVIE THEATER - PARKING LOT - LATER

Kelly and Brian are walking through the parking lot, back to his car. They are discussing the movie and laughing and enjoying each other’s company. Brian is now much more relaxed.

BRIAN: Oh, yeah, it was great. That ending.…

KELLY: Oh, I know! It was one of those, like, surreal moments where I was just staring at the screen, and it was like my eyes were so fixed on the screen that there was nothing else around me, ya know? Those frogs will be etched in my mind.

BRIAN: One of the best movies I’ve seen in a while.

KELLY: Easily.

As they continue to walk towards the car, there is a pause in the conversation, only this time, it’s not awkward for Brian. They are both smiling.

KELLY: Ya know, you’re the only person I know my age, besides me, that can appreciate a movie like this.

Brian looks at her and smiles.

BRIAN: Here’s my car.


INT. GLASS MOON - DINING ROOM

The first night has come and gone. Every patron has cleared out. Most of the workers are gone. Graham and Hallie are still there, cleaning up. Both of them are overjoyed.

HALLIE: Well, what can I say? Did we do it or did we do it?

GRAHAM: We did it.

HALLIE: And very well, I might add. (beat) Do you know the odds for a restaurant making it? It’s like one in every twenty. And I think we got off to a damn good start.

GRAHAM: Did you see the smile on that critic’s face?

HALLIE: Yes! Can you imagine opening the paper tomorrow and seeing a glowing, four-star review of The Glass Moon?

They both stop cleaning and take a moment to reflect on the night. They’re standing very close to each other. Next to Graham, there is a bottle of wine and two glasses left on a table. He picks the bottle up.

GRAHAM: Champagne?

HALLIE: Please.

Graham pours the champagne into the two glasses. He gives one to Hallie and they toast.

GRAHAM: A toast...to the Glass Moon.

HALLIE: To the Glass Moon. Cheers.

They both drink from their glasses and look at each other. Hallie starts to laugh a bit. Graham starts to smile. They both move in closer to each other. We move down to the table and see each of their hands put their glasses of champagne down on the table, then we

CUT TO:


INT.  RAYANNE’S APARTMENT

Rayanne walks into the apartment late at night. Depressed, she simply drops her coat on the floor and falls to the couch. She lets out a deep sigh and wipes dry tears from her eyes. Rayanne gets up, walks into the kitchen area and hits the button on the answering machine. A message plays:

AMBER: (VO) Hope the play went okay. I have my key so you can lock up. I’ll probably be staying at Rusty’s tonight. Bye.

Rayanne’s face drops even more. She turns to open the refrigerator and sees a picture on the fridge. The picture is of Angela, Rickie, and her. This depresses her even more. Rickie is possibly missing and Angela won’t talk to her.

Rayanne opens the refrigerator and rummages through it. She eyes one unopened bottle of liquor, the only one in there, hidden so far in the back of the refrigerator behind many other things that neither Rayanne or her mother have noticed it until now. Rayanne hesitates before taking it out. She turns around, closing the fridge with her foot. She goes over to the couch, puts the TV on, and sits back. She stares at the bottle of liquor she holds in her lap, then looks at the TV, then looks back at the bottle as she holds it up.


INT. BRIAN’S CAR - NIGHT

Brian drives down Kelly’s street and pulls up in front of her house. She yawns from exhaustion.

KELLY: I didn’t really get much sleep last night. I’ll be glad to get to bed.

Kelly looks out her window and up at her door. All the lights are off.

As she stares off, Brian wonders if maybe he should kiss her. As he goes over it in his mind, she turns back to him.

KELLY: All right, well, I had fun. Thanks and everything. I’ll see ya in work.

BRIAN: Yeah, I’ll see ya.

Kelly gets out of his car and waves goodbye to Brian as she makes her way towards her door. Brian wonders if he blew his chance.


INT. GRAHAM’S CAR

Graham is driving very slowly on a clear night. He looks worried. As he pulls up and parks in front of his house, he looks nervously at the door. He puts his hand on the handle of his suitcase. He then puts his other hand to his chest as he breathes heavily. Then he realizes something. He is no longer wearing his tie. Graham looks around in the car and through his suitcase, but it’s not even in the car with him.


INT. THE GLASS MOON - THAT MOMENT

We’re back in the Glass Moon. The lights are off and everyone is gone. We pan through the dining area and stop on the fountain in the lobby. Something is floating in the water. A tie. Graham’s tie.


INT/EXT. CHASE RESIDENCE - WALKWAY - THAT MOMENT

With his suitcase held tightly in hand, Graham walks slowly towards the front door, like he’s walking to his own execution. He braces himself and opens the door.


INT.  CHASE RESIDENCE - LIVING ROOM - CONTINUOUS

Graham walks through the doorway and smiles nervously at Angela and Danielle, who are sitting on the couch, watching TV. Danielle jumps up excitedly and starts clapping for Graham’s successful night.

ANGELA: (annoyed by her childish behavior) Danielle. (to Graham) Dad, that food was great. Really.

GRAHAM: Thanks. It’s, uh...amazing what you can do when you have the right stuff to work with.

DANIELLE: Doesn’t that all take, like, forever to cook?

GRAHAM: (distracted) It seemed like it. Uh, where’s your mother?

ANGELA: I think I saw her go into the kitchen, but I’m not sure.

Graham puts his briefcase down close to the door and heads up the steps.


INT.  MASTER BEDROOM - CONTINUOUS

Graham walks up the steps and through the upstairs hallway, hoping to avoid Patty, who is presumably in the kitchen. He enters his bedroom and throws his suitcase to the floor. He sits on his bed and stairs at the dresser, particularly at a picture frame with his and Patty’s wedding picture. He lays down on the bed and puts his hands over his face. Then, Patty walks in from the adjoining bathroom.

PATTY: How was it?

Surprised, Graham removes his hands from his face, but doesn’t actually look at Patty.

GRAHAM: (nervous) It was, uh...really, very...good.

PATTY: Just good?

GRAHAM: Really good. (quickly shifting the subject) Listen, I need to tell you something.

PATTY: Okay.

Graham sits up and looks back at the picture frame with the wedding picture. He lifts his head up and finally looks at Patty.


INT.  CHASE RESIDENCE - LIVING ROOM - MOMENTS LATER

Angela and Danielle are sitting on separate sofas watching TV. Graham slowly trots down the steps, holding several things. He walks in to the foyer and puts his wallet and keys on the end table.


INT.  MASTER BEDROOM – THAT MOMENT

Patty is leaning against the dresser, crying her eyes out. The door is closed. She turns and looks at the wedding picture on the dresser. She picks it up, looks at it, and then throws it across the room, shattering it against the wall.


INT.  LIVING ROOM – THAT MOMENT

Angela and Danielle hear the shattering of the glass and exchange a glance. Angela then looks at Graham in confusion. He stuffs his wallet into his pocket, retrieves his jacket from the coat rack, and puts it on. Patty comes walking down the steps, wiping tears from her eyes. Angela sees this.

ANGELA: Mom?

Patty doesn’t respond and walks straight into the dining room, pacing nervously back and forth. Angela gets up to follow her in, but Graham walks over and stops her. Angela now looks at Graham suspiciously.

ANGELA: What is going on?

GRAHAM: I think your mother just needs a few seconds to herself. (beat) Just sit down for a moment, okay?

Angela takes her seat again, her eyes fixed on Graham and her suspicious expression remaining. Patty comes back out, sitting down on the other couch. Graham takes a deep breath.

GRAHAM: (turning off the TV) Okay, time to go.

Angela and Danielle look at each other in confusion. Graham is extremely nervous, regretful, and fidgety. He can’t even look the girls in the eye.

GRAHAM: Um...I’m leaving, uh...I met another woman, and uh.... (slight laugh) I know people who’ve been through this, but...I never thought it would happen to us.

Danielle’s lip starts trembling. Graham swallows. His lip then also starts to tremble. Then Patty starts to fight back more tears.

PATTY: Tell them it’s not their fault.

GRAHAM: (to the girls) It’s not your fault. Uh…I’m not leaving you, I’m leaving your mother. I still love your mother. I love you guys and I’m sorry. I didn’t mean for this to happen, but... (swallows) ...it did. (off Angela’s look) I’m not trying to defend myself or, or, or explain myself, I just...I just don’t know what else to say. I’ve gone over what to say a thousand times in my head, but there’s nothing I can say except I’m sorry.

Graham is still holding back tears. Danielle is crying now, and that causes Patty to cry. She walks over to Danielle and sits next to her, hugging her.

DANIELLE: (to Patty, through tears) I love you.

Angela stares at Graham with hatred. Not so much for him, but for the woman.

ANGELA: So what’s this slut’s name?

GRAHAM: (long beat as he prepares for the worst possible reaction) Um, it’s Hallie.

Angela shakes her head in disbelief.

ANGELA: (barely audible) Oh, my God.

She looks at Danielle who is still crying.

ANGELA: ‘r you all right, Danielle?

Graham walks into the dining room to compose himself, pacing back and forth, killing time and trying to delay the inevitable.

ANGELA: (out loud, to herself) I knew this was happening. I mean, I saw that, that flyer, the signs...I should've done something.

PATTY: Oh, honey, no. Do not blame yourself.

           

Graham walks back into the living room. Patty is still comforting Danielle.

GRAHAM: (to Patty) Are you just gonna let her cry?

PATTY: (angry) Well what do you want her to do?

There is a moment of silence filled with Danielle crying. Angela says nothing, her emotions building, staring a hole into the floor. Graham says nothing. All he can hear is Danielle’s crying echoing throughout his guilty conscience. He looks around the room, seeing what he created. Patty looks at him quickly, with obvious anger. Graham wipes a small tear from his eye and finally picks his keys and little belongings up off the table and walks towards the door. He opens the door and glances back at his family. He opens his mouth to say goodbye, but they’re not even looking at him. Not able to face the scene unfolding in front of him any longer, Graham turns around and leaves through the door. Angela gets up and walks over to Patty and Danielle. They sit together, hugging each other.


END ACT I.



ACT II


INT.  KATIMSKI’S CAR - NIGHT

It’s sometime past midnight and Katimski is driving while Joseph sits in the passenger’s seat. Katimski drives slowly while they both look left and right. They are both exhausted.

JOSEPH: (after a beat) Richard, we’ve been looking for hours. It’s dark out. We won’t be able to find him at this time of night. He could be anywhere in the city. Let’s call it a night. We can go back out tomorrow.

KATIMSKI: (beat; breathes a sigh of defeat) Okay. You’re right. (beat) Where would he go? He’s been abandoned. He tries and tries and just...can’t find a home. Where could he possibly go after this that might give him the least bit of solace?

JOSEPH: Ya know, I hate to say this, but there is the possibility that he --

           

KATIMSKI: Don’t even...say it. (beat) Because I know. (beat; frustrated) Dammit. (beat) All right, let’s go home.


EXT. CHASE RESIDENCE - BACKYARD

Out back of the Chase’s house, there is a sloped space for the car to be parked in front of the garage. The blue wagon is parked there. Off in the distance, a bike is coming down the driveway. As it gets closer to the Chase car, we see its Brian out for a late-night bike ride. But as Brian rides by the car, he notices something in the car. He slows down and looks closely. Graham is sleeping in the back seat. Graham slowly lifts his head and sees Brian out the back window. Ashamed, Graham turns his head away as Brian, feeling awkward, does the same. He continues to ride down the driveway as Graham struggles to get comfortable.


INT.  RAYANNE’S APARTMENT - NIGHT

Rayanne is fast asleep on the couch, her mouth hanging open. The TV is still blaring. A scene from the film Leaving Las Vegas plays. The warm glow illuminates Rayanne. The bottle of liquor is on the end table. We move in close. The bottle has not been opened.


INT. GRAHAM’S CAR - NEXT DAY

It is mid-afternoon the following Saturday and the rain is pouring down hard. Graham keeps looking straight ahead, looking very determined. He hasn’t shaven since the morning before and his clothes, now wrinkled, are the same clothes he wore the day before, which he also slept in. Graham finally pulls up to his destination, a normal residential block, and gets out.


EXT. STREET - CONTINUOUS

Graham walks up to an apartment building in the pouring rain and presses the buzzer. A female voice answers. It’s Hallie.

HALLIE: (O.S.) Who is it?

GRAHAM: It’s Graham.

HALLIE: (O.S.) Oh. Uh, come on up.


INT.  APARTMENT - HALLWAY - CONTINUOUS

Graham walks into the apartment building and walks down the hall towards Hallie’s door, number 13-A. He knocks and she opens the door.


INT.  HALLIE’S APARTMENT - CONTINUOUS

Graham walks into Hallie’s completely over-decorated, but at the same time unkept, apartment. There are boxes of Chinese take-out on the table, a couch with a spring sticking out, and wallpaper peeling off the wall.

HALLIE: Hi. God, you’re soaked. Do you want a towel or a cup of coffee or something?

GRAHAM: It’s just a little water. I’m okay.

HALLIE: Sorry it’s such a mess in here. I grew up with four brothers, and I guess they rubbed off on me. (beat) So, whadda ya need?

GRAHAM: Uh... (to himself) ...this is hard.

HALLIE: What?

GRAHAM: I left my family.

Hallie’s eyes widen, her emotions mixed between sorrow and guilt, but at the same time; she knows it’s more his fault than hers.

GRAHAM: I didn’t really have a choice.

HALLIE: I’m sorry.

GRAHAM: It’s not your fault.

HALLIE: Well, it is somewhat. I mean…“it takes two.”

 

GRAHAM: (after a long beat) I know this is a lot to ask, and, uh...maybe it isn’t the best idea, but...can I stay here...until I get back on my feet?

HALLIE: Uh, well --

GRAHAM: I mean, I’d rather not sleep in my car again. And I really don’t wanna bother my brother. Besides, we could never live together without our parents. We’d kill each other.

HALLIE: Uh...I...don’t see why not. It, uh...it shouldn’t be a problem. Anyway, I guess it’s the least I could do for you, ya know? You are my business partner, so...yeah, you can stay here as long as you need to.

GRAHAM: (after a beat) Thanks.


INT.  CHASE RESIDENCE - MASTER BEDROOM - AFTERNOON

Patty is down on her knees, cleaning up the shattered picture frame with a dustpan and brush. She scoops up the glass and dumps it in the trash, then collapses on her bed where Camille Cherski is sitting. She rests her head on Camille’s chest as Camille puts her arm around Patty.

CAMILLE: He’ll be back.

PATTY: That’s the question. Do I want him back? I don’t know the answer to that.

CAMILLE: God, I can’t believe it. Graham...! I -- (sighs) What can I say? Is there anything? Can I do anything? Do you need anything?

PATTY: I just need you to stay here.

CAMILLE: Oh, of course. Of course I will.

Long beat.…

PATTY: I keep thinking, am I going to become one of those….? You know, those women, these divorcees. Look at, uh...look at Rayanne’s mother -- you know Rayanne.

CAMILLE: Right.

PATTY: Her mother, Amber...she’s been divorced...maybe twice, I don’t know...but she’s just one of these woman trying to raise a teenage girl alone, working ungodly hours for little money, and desperate enough for a man in her life that she dates these disgusting, low-life guys that just treat her like dirt. Ya know? Am I destined for that kind of life? (beat) I’m scared to think of what I might become.

CAMILLE: No, not you, that won’t happen. (beat) I’m sorry, I wish I could be more...consoling...but, I just don’t know what to tell you.

PATTY: There’s nothing. There’s nothing you can tell me that would make this any better.

CAMILLE: At least now you’ll be able to sleep snore-free.

Patty lets out a small, feeble chuckle. Camille rubs Patty’s back gently until they hear a knock at the door.


INT. LIVING ROOM – THAT MOMENT

Angela is down there sitting on the couch, reading a book. When she hears the knock on the door, she gets up and opens it. It’s Graham. Angela is taken by surprise.

ANGELA: (softly, almost whispering) Hi, Dad.

GRAHAM: Hi. (beat) Uh, I’m sorry, I just came to get some clothes and stuff. I don’t wanna --

Patty and Camille come walking down the steps after hearing Graham’s voice.

PATTY: Graham?

GRAHAM: Hi, uh... (he sees Camille) Hi, Camille.

CAMILLE: (inhospitably) Graham.

The three women are eyeing Graham. It quickly becomes very uneasy for him. And since Angela opened the door, Graham has stood in the doorway and not taken one step in the house.

GRAHAM: (after a beat) Look, I just came for some of my clothes. I’ll be in and out. I don’t want to interrupt whatever you’re doing or anything, just --

PATTY: Well, actually, I couldn’t sleep last night, so I packed a suitcase for you.

Patty points to his suitcase, which is resting under the window, by the door.

GRAHAM: Oh.

Graham picks up his suitcase. He feels it to make sure there’s enough in there.

GRAHAM: Thank you.

PATTY: (detached) You’re welcome.

Angela turns away in sorrow after seeing her parents interact with each other in such a distant fashion.

GRAHAM: (after a beat) Uh, where’s Danielle?

PATTY: She’s in her room.

GRAHAM: (yelling up to her) Hi, Danielle!

Graham waits. He gets no response.

GRAHAM: I don’t think she heard me.

ANGELA: I don’t think she cares.

Graham is hurt by Angela’s comment mainly because he believes it’s true.

GRAHAM: I’d like to just go say hi to her, if that’s okay.

PATTY: Go ‘head.


INT. UPSTAIRS HALLWAY - MOMENTS LATER

Graham walks slowly down the hallway, past Angela’s room. Not knowing he’s up there, Danielle comes out of her room. The two of them are suddenly standing right there together.

GRAHAM: Hi, Danielle.

She looks straight ahead, saying nothing and displaying no emotion at all.

GRAHAM: I just came by to pick up some clothes, but I’m going now, so I thought I’d…you know, I’d say hi. (long beat) I love you.

Graham hugs her tightly and kisses her head. Again, absolutely no reaction or emotion from Danielle as she stares straight ahead at the wall while Graham hugs her.

GRAHAM: (heart-broken) Well, bye-bye.


INT.  LIBERTY HIGH - HALLWAY - MONDAY MORNING

Angela and Sharon walk down the hallway together, on their way to their next class. Angela is looking down at the floor, obviously saddened by her parents’ situation. She hasn’t spoken once. As they continue to walk, Sharon stops and Angela stops with her. Angela looks back at Sharon.

SHARON: Are you, like...? I mean, you haven’t said a word.

ANGELA: I’m tired.

Angela starts walking again, but Sharon knows something is wrong. She catches up to Angela.

SHARON: Angela --

Brian, who walks up to Angela, interrupts her.

BRIAN: Why was your dad out back, sleeping in the back seat of your car the other night?

ANGELA: What?

BRIAN: I don’t know, I saw your dad sleeping in his car.

The bell rings and Brian waits for an answer, but after Angela remains silent, Brian quickly hurries off to class.

Sharon looks at Angela, puzzled. Angela looks up at Sharon, a tear in her eye.

SHARON: Angela, what happened?


INT.  LIBERTY HIGH - HALLWAY - NEXT DAY

Sharon and Kyle are walking down the hallway together. Kyle takes her hand to hold it, but Sharon fakes a wheezing cough and covers her mouth with her hand. Sharon then grabs Kyle’s hand and Kyle looks at it, disgusted. Then Sharon sees Rayanne coming down the hallway from the opposite end, so she starts to kiss Kyle. He is caught off-guard. Rayanne smiles and laughs as she walks by.

KYLE: Geez, you’re like a whole new person. (smiles mischiefly)             I like it.

Sharon smiles and laughs, then turns her head away from him and grimaces.


INT.  ENGLISH CLASS

Katimski is not himself today. He’s even more spaced-out then usual.

KATIMSKI: Uh, okay, now then, there will be a test tomorrow on
The Inspector General, so, um...why don’t you all take out your books and...we’ll review.

The students look at each other, confused. Katimski looks around. No books have been taken out.

KATIMSKI: Uh...would you like me to get them out for you?

STUDENT 1: Uh, we’re not doing Inspector General.

STUDENT 2: Yeah.

KATIMSKI: We’re not? What, uh...oh, this is embarrassing. I’m sorry, what are we reading?

STUDENT 2: Canterbury Tales.

KATIMSKI: Oh, that’s right. Not even close. I must be thinking of another class, um --

The bell rings, cutting off Katimski.

STUDENT 3: Are we still having a test tomorrow?

KATIMSKI: No, no test. Uh, Angela Chase!

Angela is almost halfway out the door when she turns around. Katimski motions for her to come over.

KATIMSKI: Angela, could I see you?

Angela walks over to his desk as the rest of the class clears out.

KATIMSKI: Now, I want you to be...completely honest with me...here.

ANGELA: About what?

KATIMSKI: Do you know where Rickie is? Is he, is he living with you?

ANGELA: Isn’t he with you?

KATIMSKI: Uh, well...he was.

ANGELA: What? What happened?

KATIMSKI: You really don’t know, uh, where, where he is?

ANGELA: No, what happened to Rickie?

KATIMSKI: He’s gone. (beat) He left.

ANGELA: (getting angry) Is this because of what Principal Foster said?

KATIMSKI: No, this is...this isn’t his fault. (beat) It’s my fault, I didn’t, uh, I didn’t deal with it...correctly.

Students begin coming in the room for the next class.

KATIMSKI: Uh, you better go to your next class. You don’t wanna be late.


INT.  PRINCIPAL’S OFFICE – DAY

Jordan is seated in the hot seat right in front of Principal Foster’s desk, biting his nails, as Foster circles him like a vulture, studying him as he goes over his record. Jordan is expecting the worst.

FOSTER: Mr. Catalano…I noticed your grades have been improving.

Jordan is caught off guard.

JORDAN: I guess.

FOSTER: Any particular reason for your sudden…academic enlightenment?

JORDAN: (after a beat) My what?

FOSTER: Why are you now doing so well?

JORDAN: I’ve been…seeing a tutor.

FOSTER: Who has been tutoring you?

JORDAN: Brian… (thinking) I don’t remember his last name.

FOSTER: Brian Krakow, in all probability. Fine student. If anyone should be tutoring you…well, Brian is one of Liberty’s finest…and it is clear to see that his help has been working. (long beat) I’ve spoken to some of your teachers. They say you’ve been attentive in class, lately. They praise you for your recent effort.

Foster looks through several more files and folders.

FOSTER: You’ve been diagnosed with Dysphonetic Dyslexia?

 

JORDAN: Uh…I think. Yeah.

FOSTER: So, you weren’t just under-achieving all these years.

Foster flips through an accordion-style filing case and takes out another file on Jordan.

FOSTER: Aside from a general lack of interest in school – including countless unexcused absences – your record is pretty clean. No disciplinary problems and very few discipline-related detentions. (long beat) Due to your unfortunate situation, I’m willing to give you a chance.

JORDAN: A chance for what?

FOSTER: A chance to graduate with your class, the class of ninety-five.

JORDAN: I could graduate this year?

FOSTER: Well, this is your fourth year at Liberty, and seeing as how you had a problem that was beyond your control…you’re making up for it. You’re trying and succeeding. (beat) If you can pass all of your classes for the remainder of the school year and successfully complete several summer courses…I think we can work something out.


INT.  CHURCH - DAY

Graham enters the church doors and walks down the side aisle. The place is empty with the exception of several people scattered in the pews. Graham looks around from wall to wall, feeling awkward and out-of-place in church. A priest comes out of a confessional and Graham grabs his attention.

GRAHAM: Excuse me, father?

PRIEST: Yes?

GRAHAM: Uh, where do I go for penance? Or, or reconciliation. Is that -- ?

PRIEST: (points to a confessional) You're right here. Father Sheridan is seeing someone, however; so just wait here. He shouldn't be more than a few minutes.

GRAHAM: Okay, thanks.

The priest walks into his office. Graham leans against the wall, waiting several seconds. Suddenly, out of the confessional walks Rickie.

GRAHAM: (surprised) Rickie...

RICKIE: (also surprised) Oh. Hi.…

GRAHAM: Hi.

Both are feeling awkward.

GRAHAM: Uh... (laughs) ...come here often?

RICKIE: Yeah. I'm catholic. Like, devoutly.

GRAHAM: Oh...right. (beat) I'm...not. I mean...I don't know what religion I am. My parents never took me to church or prayed or anything, so... (beat) But, I'm feeling kinda guilty. About something I did. Personal. You  know.

RICKIE: Sure.

GRAHAM: I figure it can’t hurt. I didn’t know who to talk to, so...I'm not sure how to do this. I've never been in one of these boxes before. I wouldn't know how --

Graham stops when Father Sheridan comes out of the confessional.

SHERIDAN: Can I see the next person?

GRAHAM: Oh, yeah, sorry. I guess I should've just went right in.

Graham follows the priest in, but first turns to Rickie as he's leaving.

GRAHAM: Oh, Rickie? Um...could you please not tell Angela that you saw me here? I mean, I'm supposed to be at work, I wouldn't want her to think, you know --

RICKIE: Yeah.

GRAHAM: Yeah. So, uh...thanks.

RICKIE: Sure.

 

Graham enters the confessional as Rickie walks out the door.


EXT. LIBERTY HIGH - PARKING LOT - JORDAN’S CAR

Jordan is leaning up against the passenger door, smoking, while Angela sits on the hood, looking down at the ground. Jordan finishes his cigarette and throws it on the ground, then walks around the car to where Angela is.

Que. “Everything Is Wrong” by Neal Morse.

MUSIC: And he was the next Van Gogh, cutting of his ear | He wanted to show up, but could only disappear | And now everything, everything is wrong | Everything is wrong

ANGELA: (sad; looking up to the sky) Nothing’s right anymore.

JORDAN: Yeah, well...even in, like, a perfect world, sometimes things suck.

Jordan starts biting his fingernail, not looking at Angela. But Angela looks at him in amazement.

ANGELA: (VO) A child could've articulated it better, but I've never heard anything more profound come from Jordan Catalano.


INT. PRINCIPAL’S OFFICE – DAY

As Principal Foster sits at his desk going through an over-whelming amount of paperwork, we see the outline of a man through the translucent glass window on the office door. He knocks and Foster looks up.

FOSTER: Come in.

The door opens to reveal the man as Joseph. He walks in and Foster gets up to greet him. Joseph extends his hand.

JOSEPH: Principal Foster?

FOSTER: Yes.

JOSEPH: Am I interrupting anything?

FOSTER: No, not at all.

JOSEPH: Oh, good. I’m Joseph Albright, Richard Katimski’s partner.

Foster’s eyes widen in attention.

FOSTER: Ah, yes. Pleasure to meet you.

JOSEPH: Let’s skip the pleasantries.

FOSTER: Okay. What can I do for you?

JOSEPH: You could give Richard his job back, for one.

FOSTER: He hasn’t been fired yet.

JOSEPH: Well, look, Richard may not want to fight this, but someone has to. And I hope you realize what you’re doing and what this makes you.

FOSTER: I am not homophobic, if that’s what you’re implying. I have no prejudices of any kind. I’m doing this to protect the school, yes, but also to protect you, to protect Rickie, and to protect Richard. If this got out, his life would be a nightmare. He wouldn’t be able to find a job in this city. He wouldn’t even be able to step outside of his house to get the paper in the morning without being harassed. However, if I let him go now, before this whole ordeal circulates through to the public, he should have no problem finding a job. Richard is a very sought-after teacher. There are many principals in this city that would love to have him in their school, and with good reason. Please believe me when I say that I believe, in my heart, that I’m doing the right thing to help him and Rickie. And if I thought otherwise, I would not do it, even if it harmed the school’s reputation. And I would be more than willing - in fact, I insist - that I be a reference for him and put in a good word to whomever will listen. (beat) Again, this is not something I want to have to do. But it is something that has to be done.

JOSEPH: Well, that’s great, but when Richard’s prospective employer asks him why you fired him from your school, what is he supposed to say?

Foster looks back at Joseph, struggling to find an answer.



INT.  GIRLS  ROOM



Angela walks into the bathroom. She looks around. One girl is in there, brushing tangles out of her hair, and there is another person in the bathroom. Angela can tell by one look at that person’s shoes that it’s Rayanne. Angela steps up to the sink and begins washing her hands. The toilet flushes and out walks Rayanne. Rayanne walks up to the sink next to Angela and starts washing her hands. They give each other a cold, but acknowledging look. The other girl, finished, walks out of the bathroom. As the door swings open and closed, Angela notices, out of the corner of her eye, Brian walking by the bathroom. Rayanne notices Angela’s look.


RAYANNE: So, what’re you, like, a couple now?


ANGELA: What?!


RAYANNE: That’s the rumor goin’ around.


ANGELA: There’s a rumor?


RAYANNE: Well, not so much a rumor, but...I hear things.


ANGELA: Well, it’s not like that. (beat) God, I can’t even imagine... (beat) ...but, like, can I ask you something, as long as we’re talking about it? I mean, I know we’re not friends or anything, but can I just ask you something, like, woman to woman?


RAYANNE: Okay.


ANGELA: The thing is, when I found out how Brian wrote that letter, I thought it was really nice, but it’s not like I, like, felt anything for him. I liked the letter, that was it. So I figured that was that. But then a few days ago, Brian introduced me to, like, his girlfriend -- ?


RAYANNE: (laughs) Krakow has a girlfriend?!


ANGELA: I guess. (beat) I -- I don’t know. They work together. But the weird thing is, is like, I was kind a jealous, I guess? I can’t figure out why, I mean...I mean, it’s not like I -- I mean, Brian isn’t -- I mean --


RAYANNE: (laughing, teasing) You like Brian Krakow?


ANGELA: No! Rayanne! Shut up! (starts laughing too) It’s not like that at all, I’m just trying to get things straight in my head. It’s, like...maybe there’s more to him...or something, I don’t know. Or it’s like a possession issue, like, cause I’ve known him longer or something. Do you know what I mean?


RAYANNE: Nope.


ANGELA: I mean, can you help me?


RAYANNE: Me? Help you? You want my --


ANGELA: Rayanne, yes or no. I mean, you know things. More than I do.


RAYANNE: Well...I’d say you gotta get over this thing with Krakow. Immediately. It’s embarrassing. (beat) You should talk to Tino about this. He’s, like, the Ann Landers of Liberty.




INT.  LIBERTY HIGH - HALLWAY


Sharon is leaning up against her locker as Kyle moves in and kisses her. Sharon smiles and kisses him back. Students walking by are watching them.


SHARON: So, listen...are you doing anything tomorrow night?


KYLE: Not that I know of.


SHARON: Are your parents gonna be home?


KYLE: No. (smiles) Why?


SHARON: (smiles back) Wanna, like...get together?


KYLE: By get together, do you mean -- ?


SHARON: I think you know what I mean.


Kyle laughs and kisses her some more.




INT.  GIRLS  ROOM


Rayanne finishes washing her hands and begins doing something complicated with her hair. There is a long silence, but Angela breaks it.


ANGELA: So, um, do you know anything about this thing with Rickie?


RAYANNE: What thing with Rickie?


ANGELA: That, like, the school found out about him staying with Katimski, and that they, like, threatened to fire him?
           
RAYANNE: Katimski was lookin’ for Rickie the other night. He was acting like something serious was going on.


ANGELA: Well, he told me that, um, Rickie is -- is like, gone.


RAYANNE: Gone?


ANGELA: I think he ran away.


RAYANNE: Oh, God. (beat) Not again.


ANGELA: Look, I mean...whatever’s happened between us...I mean, I think we need to put that aside for now and --


RAYANNE: We need to find Rickie.


Angela nods.


RAYANNE: (after a long beat) So...uh, I heard about your parents. (beat) I know how it is. It’s hard. (longer beat) I’m sorry.


ANGELA: Thanks.


Angela finishes washing up and puts her hands under the electric dryer. As she lets her hands dry, she looks at Rayanne who is still fiddling with her hair. Rayanne looks up and directly into Angela’s eyes.


ANGELA: (VO) I don’t know what it was about that moment, but I could’ve forgiven Rayanne for murder.


Both of the girls’ chins begin to tremble. They both look at each other like they now understand each other more than ever. They embrace each other in a hug that lasts as long as the shot.


ANGELA: (after a beat; as they hug; through tears) I’m sorry, my hands are still wet.


RAYANNE: (laughs, through tears) It’s okay.


As they hug, we fade to back and:




END ACT II.




ACT III


 
INT. POOL HALL – NIGHT

In a smoky pool hall somewhere in the middle of town, Graham is drowning his sorrows during a night out with Neil. Neil lines up a shot as Graham takes a drink of beer and watches. Neil flubs the shot.

NEIL: Like a pro.

GRAHAM: (sarcastic) I don’t know why you’re playing in this place when you should be playing tournaments.

Graham lines up his shot hastily and, as a result, sinks the cue ball.

NEIL: (matching Graham’s sarcasm) Oh, nice one.

 

GRAHAM: Well, I’m in no shape to play pool. My mind’s been on other things.

NEIL: What happened?

GRAHAM: (beat) I left Patty.

NEIL: Oh, jeez.

GRAHAM: I just…told her everything, ya know?  I couldn’t hold it in.

NEIL: When was this?

GRAHAM: A few nights ago. I told her, then I told the kids, and then I left. (beat) This is -- I mean, I can’t deal with this -- this situation. On one hand, I’m just...sickened with myself. Ya know? Can I ever fix this? And can I continue a working relationship with Hallie? I don’t wanna give up my restaurant, I mean...I don’t know. But I certainly didn’t deserve to stay with them and make the situation worse than it already was. The kids hate me now, and I’m sure you can imagine Patty wasn’t too happy. She just wanted me outta there for a few days. She needs a few days to think.

 

NEIL: Why? Why’d ya do it? I mean, that’s...low.

GRAHAM: Neil, you’re the last person who should be lecturing me on this subject. (long beat) But, to answer your question…I don’t think I can answer your question. I’ve asked myself that so many times, and I’ve come up empty each time.


 
INT. CATALANO HOUSE – NIGHT

The front door opens and Jordan walks in. He throws his books down on the sofa and hangs is jacket across the armrest.

JORDAN: Hey, Dad.

Jordan’s dad comes walking in to the living room from the kitchen.

TOM: Ya gonna be home tonight?

JORDAN: I don’t know. I guess. Listen, something happened at school today –

TOM: Jesus. Now what? What do I have to sign?

JORDAN: No, no, this is good. I had to go to the principal’s office –

TOM: It doesn’t sound good.

JORDAN: It is. I was in the principal’s office and he was going through my files and stuff, and he told me that, like, if I pass everything this year? I could graduate. Like, this year. (beat) All I have to do is go to summer school or something.

TOM: Hold on, hold on. Let me see if I can understand this correctly. (beat) You can…slack off for three-and-a-half years, and they’re still gonna let you graduate?

JORDAN: (defensive) It’s ‘cause of my learning problem.

TOM: What, Dyslexia? You don’t have Dyslexia. You’ve been making up excuses your whole life. If you were a good student, I wouldn’t mind, but you’re not. You’re a lazy kid with lousy manners, and the good things about you only surface when you wanna impress someone.

JORDAN: Well, it must run in the family. I’m doing good in school, but you don’t care enough to even notice. I’m gonna pass all my classes and I am gonna graduate, and the second I do, I’m gonna get as far away from this house and you as I possibly can.


INT.  GLASS MOON - DINING ROOM - NEXT MORNING

Hallie is eating a bowl of cereal and reading a magazine at a table near the front door when Graham walks in.

GRAHAM: (discreetly) Hi.

HALLIE: G’morning.

Graham walks right by her. Hallie watches him walk back to the kitchen, wondering why he barely said a word. She can sense depression in the air. After a few moments, Graham begrudgingly walks back in towards Hallie.

GRAHAM: Robert LeMonde reviewed us in the Sunday paper.

HALLIE: How was it?

GRAHAM: (half-heartedly) Good.

HALLIE: Good? That’s great!

GRAHAM: (indifferent) Yeah.

With that, Graham walks back into the kitchen and Hallie watches him, wondering what’s wrong.


INT.  KYLE’S HOUSE - LIVING ROOM - NIGHT

The lights are out in the living room of Kyle Vinovich’s house, but the glow of the television illuminates Kyle and Sharon, who are sitting on the couch, kissing passionately.

KYLE: Ya know, when we first got back together, I thought, like...I don’t know, something’s not right; something doesn’t fit. But I must admit...I did, kind’a...I don’t know...miss you.

Sharon smiles.

SHARON: Me too.

Kyle begins to remove his shirt, and we

CUT TO:


INT.  GLASS MOON - DINING ROOM - NIGHT

It's closing time at The Glass Moon. Several workers are walking out the door as Graham puts on his coat and turns out the lights. After he turns out the lights, we hear the door open and a voice in the dark. The outlines of Graham and another figure at the front door can be seen.

MATTHEW: Hello?

Graham flicks on the lights. A man is standing in front of the door. He is wearing a businessman’s suit and carrying a brief case.

GRAHAM: Can I, uh...can I help you?

MATTHEW: I don't suppose the head chef is still here.

GRAHAM: That would be me.

MATTHEW: Oh, great. (beat; he extends his hand) Matthew Traceway. Pleasure.

GRAHAM: Uh, yeah, you -- you too. (beat) We’re closed. What can I do for you?

MATTHEW: Well, actually, I have an offer for you.

GRAHAM: An offer?

MATTHEW: Have you ever heard of le Bec Finn?

GRAHAM: Of course. It’s the best restaurant in Pittsburgh.

MATTHEW: Well, I work for them. You probably don't know -- maybe you do -- but earlier today, several people from le Bec Finn dined here. They enjoyed it. They enjoyed it very much. That, along with the rave review of your establishment in the Sunday paper, caught our attention.

GRAHAM: Oh. Well, uh, thanks. Thank you.

MATTHEW: I’ll dispense with the pleasantries and be blunt. I'm here to offer you a job.

GRAHAM: (amazed) You're kiddin’.

MATTHEW: No, I’m not.

GRAHAM: At le Bec Finn.

MATTHEW: We would like you to join our staff.

GRAHAM: Staff?

MATTHEW: Yes, in our kitchen. You see, the way we run our business... well, we see something of great beauty and we must have it. Today, the food you prepared for my associates exuded beauty. We'd like you to start as soon as possible. How much do you make here? We'd like to start you at double that.

GRAHAM: Well, I'm also the co-owner.

MATTHEW: Then you can imagine whatever salary we offer you would have to be very generous.

GRAHAM: You’d sure be able to afford it. I've seen your prices.

MATTHEW: (laughs) Okay, then. Listen...you sleep on it. If you wouldn't mind giving me your number, someone will get back to you by the end of the week. I'm sure you'll have made your decision by then.

GRAHAM: My number. Hmm...uh...

MATTHEW: (smiles) You do know your own number, right?

GRAHAM: Uh, heh...no, well, uh...what happened was, we just got it changed, so I sometimes forget it.

Graham turns to his desk. He sees a piece of paper tacked to his bulletin board. It reads  HALLIE: 535-6777 .

GRAHAM: Actually, ya know, it's 535-6777.

MATTHEW: You're sure.

GRAHAM: (laughs) Yeah, yeah.

MATTHEW: Okay. And whom should I ask for?

GRAHAM: Oh. Uh, Graham.

MATTHEW: Okay, Graham, we will call you by the end of the week.

GRAHAM: Okay. Thank you.

MATTHEW: (turns to leave, but then turns back to Graham) We'd really like you to be a part of our team.

GRAHAM: (beat) Uh, well, uh...thank you.

The man exits. Graham stands there in contemplation before turning the lights out and locking up.


EXT. LIBERTY HIGH - FOOTBALL FIELD - NEXT DAY

School has let out and Sharon has come to watch Kyle practice. Out on the field, he makes a good play and shows off to Sharon. Humoringly, she claps for him and rolls her eyes when he turns away. Then Kyle excuses himself from the field and walks over to Sharon.

KYLE: What’s up, babe?

SHARON: Nothin’. Just came to watch.

Kyle smiles and leans in to kiss her. Sharon lets him kiss her, but she doesn’t kiss back. She’s not into it anymore and Kyle notices.

KYLE: What? What’s wrong?

SHARON: Nothin’, just... (feigning sorrow) Kyle, I don’t think we should, uh...um... (beat; laughs) Eh, I was gonna let you down gently, but forget it.

KYLE: Huh?

SHARON: I used you...Kyle. I’m using you. I’m using you like you used me. I’m treating you like you treated me. Only you are dirt. (beat) I thought what we had was something, like...emotional. But you proved that wrong.

Kyle takes all this in, preparing a retort.

SHARON: You think I wanted to get back with you? I just...wanted to have some fun. (beat) And at, like, your expense. I didn’t miss you. I wasn’t happy to be with you. You were just...a guy. You were just some guy, how do ya like that?

KYLE: (calm) I guess I shouldn’t have expected any less from you. But, hey...that’s all right,  cause I was usin’ you all along.

SHARON: Oh, please. I saw that look in your eye. (mocking Kyle)  I, like, missed you.  (laughs) Now you know how it feels to use someone...and to be used. To hurt and to be hurt.

KYLE: Yeah? Well...what does all this say about you?

Kyle lets his last statement sink in and walks back onto the field. Sharon is left wondering if she is no better than him.


END ACT III.


ACT IV.


EXT. THREE RIVERS MALL - DAY

Brian is walking along all of the stores of the mall, on the way to the bookstore where he works. As he is about to reach the store, he peers all the way down the strip, past the last store. He notices someone sitting on one of the mall benches. He walks past the bookstore, all the way down to the bench. Sitting there reading a book is Rickie. He is wearing the same clothes he was the night he left. They are dirty, as is his schoolbag, which he still carries with him. Rickie looks up and notices Brian.

RICKIE: Brian.

BRIAN: Hey. (beat) I haven’t seen you in school in a while. Where’ve you been?

RICKIE: Yeah, I’ve been, uh...pretty sick lately. But I’m getting better.

BRIAN: What’re you doing here?

RICKIE: I just hang out here. Read. Relax. Its nice and calm here. Not too cold. Not too hot. It’s the only place I can find, like...re-assurance.

 


INT.  GLASS MOON - LOBBY - NIGHT

It’s after closing, and with the exception of a few people cleaning up, Graham and Hallie are the only ones left.

HALLIE: Well, tonight wasn’t as good as the other night, but...it was still good.

GRAHAM: Look, I think I need to hire more help in the kitchen.

HALLIE: You have plenty of people.

GRAHAM: No. No, we were scrambling around tonight. It was a madhouse, trying to get everything done.

HALLIE: Didn’t someone take the night off?

GRAHAM: No, everyone was in.

HALLIE: Huh.

GRAHAM: So, we’re gonna need to swing the budget a little bit, and I’ll start seeing people next week. Maybe an assistant or something.

HALLIE: No. Absolutely not. We can’t afford a non-necessity like that. It’s just not warranted yet.

GRAHAM: I disagree, I mean...you -- you don’t know what it’s like back there.

HALLIE: Do you know what it’s like up here?

GRAHAM: Well, no, I don’t, but --

HALLIE: Then don’t give me that.

GRAHAM: I’ll look at our budget and move some things around.

HALLIE: No! Not yet. Not at this time. (beat) We need to be absolutely sure that we are financially secure enough to start altering the budget like that. That’s my job and my decision to make, and I’m telling you, we can’t afford it.


INT.  LIBERTY HIGH - HALLWAY - NEXT DAY

Angela is at her locker. Off in the distance, through a sea of students, she sees Rayanne coming towards her. Angela then turns around and sees Brian standing right there.

BRIAN: Hey, Chase. D’you know...? I mean, did Rickie come to school today?

ANGELA: Did he? I don’t know. I don’t know where he is.

BRIAN: Cause I saw him the other --

Rayanne comes walking up to them.

ANGELA: Where? Where did you see him? (to Rayanne) He knows where Rickie is.

RAYANNE: Where?

Both of the girls pay full attention to Brian.

BRIAN: I just ran into him. Why? Is there something wrong?


INT.  GLASS MOON - KITCHEN - NIGHT

Hallie walks through the kitchen, seeing hardly anyone working. She sees Graham who looks at her back. He shrugs his shoulders.

HALLIE: What the hell is going on?

GRAHAM: There’re no orders. We can’t cook what wasn’t ordered.

HALLIE: It’s the busiest time of the night and there’s...

Hallie looks through the doorway, into the dining room, where only two tables are in use.

HALLIE: ...two couples! Only four people eating here tonight!

GRAHAM: I don’t know what to say.

HALLIE: Let’s not get down about this. It’s just one bad night. That’ll happen now and again. When le Bec Finn opened, no one showed.

Graham laughs nervously.


EXT. THREE RIVERS MALL - NIGHT

Angela and Rayanne walk along the row of stores, to the point where Brian told them Rickie was. But today, he isn’t there. Angela and Rayanne look around, looking for Rickie. Defeated, they sit down on the same bench that Rickie was sitting. Then, out of the corner of her eye, Angela sees him walking towards them.

RICKIE: You’re sitting on my bench.

ANGELA: (relieved) Oh, thank God.

RAYANNE: (angry) Where the hell have you been?

RICKIE: I just needed to be alone for a few days. No school or anything. I just needed to, like, think about things. I’ve been crashing at Tino’s place for a few days. He’ll let anyone crash.

Angela and Rayanne are enormously relieved. Then Rickie notices something.

RICKIE: Wait a minute. You two...are here...like, together.

ANGELA: Yeah. (beat) We couldn’t t, like, stay mad -- we couldn’t go on like we were -- with you missing.

Rickie smiles.

ANGELA: Rickie, you have to go back to Katimski’s.

RICKIE: No. They’ll fire him.

ANGELA: He doesn’t care. He’s worried about you. He’s been looking all over.

RAYANNE: He canceled the play.

RICKIE: He canceled the play because of me?

Angela and Rayanne both nod.

RICKIE: I didn’t realize...

ANGELA: Come back with us.

Rickie looks at Rayanne and Angela, happy for them to be back together again.


INT.  HALLIE’S APARTMENT - NIGHT

The phone rings and Hallie gets up to answer it.

HALLIE: Yyy-ello? (beat; surprised) Uh, yeah, hold on. (to Graham) It’s for you.

GRAHAM: (confused) Who knows I’m here?

Graham takes the phone and brings it as far away from Hallie as he possibly can.

GRAHAM: (almost whispering) Hello? (beat) Yeah, hi, I’m glad you called...Oh, good, the offer still stands? Because, uh...I’ve been thinkin’ about it, and, uh... (looks at Hallie) ...I think I’d like to take it...Monday at ten? Yeah, I can make that...Okay. Thank you. See ya then. Bye.

Graham hangs up the phone and walks back into the living room.

HALLIE: Who was it?

GRAHAM: Oh, it was my brother. I gave him this number. I forgot.

Graham laughs innocently. Hallie sits back down on the couch and turns on the television. Graham just stands there, staring at an unraveling thread of one of the cushions on the couch, contemplating telling Hallie the truth.

GRAHAM: (after a beat) Actually, I lied.

HALLIE: What did you lie about?

GRAHAM: That wasn’t my brother.

HALLIE: Well, who was it?

GRAHAM: I’m sorry. This is -- I’ve let this go on long enough, and I just…ruined everything.

HALLIE: What are you talking about?

GRAHAM: The restaurant. My family. Everything. I don’t think I can do it anymore.

Hallie is still unsure of what he’s talking about.

GRAHAM: I don’t think we should continue working together.

Hallie is completely surprised. She jumps from her seat.

HALLIE: What?

GRAHAM: Please don’t take this as anything personal, but…every second I’m around you, it reminds me of what I did to my family and how terrible I feel. I know I caused all of this and it’s my fault, but --

HALLIE: You’re giving up on the restaurant. Already.

GRAHAM: I don’t like to think of it as “giving up…”

HALLIE: Well, that’s sure as hell what it is! You have an obligation. You made a commitment.

GRAHAM: They wouldn’t be called commitments if people didn’t break them.

Hallie looks at him as if he’s trying to excuse his behavior and she’s really annoyed for it. There is a deafening silence between the two, but the television is still on and the sound of a very loud and annoying commercial hits Hallie like an anvil. She throws the remote down on the floor and the television flickers off. Graham knows there’s nothing he can say or do to make her feel any better, but at the same time; this is something that needs to have been done.

HALLIE: Well, wait a minute. What did that phone call have to do with any of this?

Graham feels terrible about going behind Hallie’s back.

GRAHAM: (looking down at his shoes) I already took another job. It’s a position at le Bec Finn.

HALLIE: Wow. That’s…I mean, le Bec Finn. That almost rationalizes what you’re doing.

GRAHAM: Nothing rationalizes what I’m doing. I’ve been making one mistake after another lately. And I’m sure you’ll hate me for this, but I’m doing it because my family is more important than the restaurant, and I feel like the only way I can make it up to them and show them how truly sorry I am…is by giving you full ownership of the restaurant. (beat) Please realize how hard this is for me.

HALLIE: How hard this is for you?! Do you realize how hard this will be for me? I can’t run a restaurant alone. You’re the head chef. A restaurant can’t survive without a head chef.

GRAHAM: Jeff is more than capable of filling my position. All you needed me for was  to get the backing of the investors for the restaurant. Now that you have that and someone who can fill my position…you’re actually better off without me.

Hallie sits back down on the couch to cool off.

HALLIE: There’s no point in arguing this, is there?

GRAHAM: No.

HALLIE: (after a beat) Ya know, I’ve noticed your behavior really change this last week and I wondered if it was because of your family, but I thought it was better if I just let it go and focused on the restaurant. (beat; shakes her head) It would’ve been very professional of you to’ve done the same. (beat) Maybe you’re right. Maybe I’m better off. Maybe we’re both better off.

GRAHAM: We are.

HALLIE: I guess you can’t expect to carry on a business relationship after what we did. It affected our work.

Hallie buries her head in her hands at this unprecedented turn of events. Graham contemplates sitting down next to Hallie and comforting her, but he decides to stand back.

HALLIE: What are you gonna do for a home?

GRAHAM: My brother got me an apartment in his building and he loaned me money to pay for the down payment. And I start at le Bec Finn next Monday. They’re going to pay me really well. (beat) I’ll leave now if that’s what you want.

HALLIE: No, you don’t have to. (beat) You can stay the weekend if that’s what you need to do. (beat) I’m very upset and disappointed with you right now…but I understand.


INT/EXT. KATIMSKI’S APARTMENT - NIGHT

Angela, Rayanne, and Rickie walk up to the front door of Katimski’s apartment. Rickie knocks, and they stand there waiting for an answer. Then the door opens and Katimski appears before them. His eyes light up as he sees Rickie.

RICKIE: I’m sorry.

KATIMSKI: I’m sorry.

Rickie and Katimski embrace. Katimski then leads the three kids into his home, and we


INT.  LIBERTY HIGH - AUDITORIUM - STAGE – NEXT NIGHT

After being canceled for nights two and three of the play, it is back on, and to a full crowd. The main focus on stage is on Rayanne, as Emily. Her hair is all brown and combed completely straight down, looking very innocent. She is standing with Chi Kwan, as Mrs. Webb.

RAYANNE: Oh, Mama, just look at me one minute as though you really saw me. Mama, fourteen years have gone by. I'm dead. You're a grandmother. I married George Gibbs, Mama. Wally's dead, too. His appendix burst on a camping trip to North Conway. We felt just terrible about it. Don't you remember? But, just for a moment we're all together. Mama, just for a moment we're happy. Let's look at one another.

CHI KWAN: That, in the yellow paper, is something I found in the attic among your grandmother's things. You're old enough to wear it now and I thought you'd like it.

RAYANNE: (smiles) Why, Mama, it's just lovely and it's just what I wanted. It's beautiful.

As the play goes on, the camera pans across the audience in montage style, showing Angela and Sharon seated together, Brian and Kelly sitting next to each other up front, and Amber Vallone standing in the back with a big smile across her face. They are all enjoying the show.


INT.  LIBERTY HIGH - AUDITORIUM - BACKSTAGE - NIGHT

The play has since ended, and the cast is backstage, celebrating and congratulating each other. Everyone is smiling and laughing. Rickie and Rayanne are there, and Angela has joined them. Rayanne is greatly excited.

RAYANNE: I’m telling you, when you look out into that audience and see all those eyes staring at you, and peering at you, and you’re acting like this completely different person? It’s this thrill that is, like...indescribable.

RICKIE: And we all know how you like people peering at you.

RAYANNE: I’m tellin’ you. Angela. This is something I could actually see myself doing. You know?

Rayanne smiles, then Rickie smiles. Angela takes a step back and watches everything around her, and all of the happiness surrounding her. But with the image of her parents splitting up engraved in her mind, she can’t bring herself to share in it.

On the other side of the room, Principal Foster has just walked through the doors. Mr. Katimski is talking with a student when Foster excuses himself and interrupts.

FOSTER: (to everyone) Excuse me! Can I please have your attention?!

Everyone turns around to look at Foster.

FOSTER: (shakes Katimski’s hand; to everyone) Mr. Katimski, congratulations on a wonderful play. You’ve made the entire school proud and I publicly thank you.

The cast starts to clap. Katimski smiles and nods.

FOSTER: (to Katimski) Now Richard, can I speak to you privately?

Foster motions to the door leading to the hallway. Katimski nods and follows.


INT.  LIBERTY HIGH - HALLWAY - CONTINUOUS

FOSTER: Richard, thank you again, the play was excellent.

KATIMSKI: Thank you.

FOSTER: Now, I’m sure you remember the talk we had?

KATIMSKI: Mm-hmm.

FOSTER: Well, good, then this won’t come as a shock. You’re fired. As of tomorrow morning, you no longer teach at Liberty High. Goodnight. (beat) And good luck.

Foster walks away and out the door. Katimski stands there perfectly still, not sure how to take the news; saddened by it, even though he expected it. We pull back as Rickie enters through the stage door.

RICKIE: (notices Katimski’s expression) Mr. Katimski? (beat) Mr. Katimski, what happened?

Katimski follows Rickie as they walk back to the stage and the shot fades to the credits.


END ACT IV.


THE END.

Author’s Notes:

Sorry for this being much later than I promised, but I got a new computer, then got a virus on that computer and had to reformat the hard drive, and I wasn’t satisfied with my first draft of Opening Night 2 anyway, so I decided to more or less re-write it. Also, I’m lazy.

Thanks to beta-reader Peter Bauer for his invaluable input.

Everything Is Wrong can be found on Neal Morse’s 1999 self-titled album, and I very strongly recommend it.

The scene where Graham leaves his family was difficult for me to write because it’s an almost exact scene from my own life, with some artistic liberties taken, of course.

Someone sent me a fan-fic they had been working on and asked me for my opinion on it, but I never got a chance to read it as I bought a new compuer shortly after and thus lost their e-mail address, so I’d like to apologize to that person if he’s reading this.

As always, I thrive on feedback, so let me know what you think.

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Rating Distribution:
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Average: 4.2/5   4.2/5 (84 votes)
  • Jelena commented on 30 Sep 2001:
    A good story.
    One can feel that there are many personal details. Dialogs are very convincing, like a real sequel of MSCL. Bravo
  • kaytee commented on 06 Oct 2001:
    Excellent story. Well done. I liked the fact that you didn't resolve the Angela-Rayanne situation right away, but rather over a series of episodes. Some very emotional scenes involving the family.
  • Sherril commented on 14 Nov 2001:
    I just read all of your new episodes - although nothing can make up for the actual show - I think you've done a great job at continuing the story. At first I was a little annoyed that you turned Graham in to a "bad guy" in this episode - but the way you resolved it (kinda) was excellent and realistic. This show is not meant to have happy endings - you are doing a great job at continuing the storyline. I guess it'd be nice if you added another twist, something unexpected in the next episode, but I know that can cause widely varying reactions. . . I look forward to reading your next episode.
  • jim brooks commented on 29 Nov 2001:
    Thanks for all the kind words and whatnot. Nothing excites a writer like feedback, whether negative or positive, so it is much appreciated.

    Just wanted to say that I do plan to write another - although given my track record, that could be years from now - but it will be my last, so don't expect any new twists, but do expect the unexpected. Thanks for reading.
  • "Aja" commented on 10 Dec 2001:
    I became an MSCL fan after the show was canceled; the first time I recognized Claire Danes (in Romeo and Juliet), I was just captivated, so I made it my mission to see everything she had done previously, and I instantly feel in love, became impassioned, with MSCL. I have never seen anything like it! I saw all the re-runs and bought the sets, which I watch constantly, and it is still incredible the way it hits me when I view it again, because it's so incredibly real! I feel so much when I see an episode; it's almost frightening, the intensity with which I delve into it. Of course, like every other fan, when I discovered for myself the brilliance and resonance of MSCL, the imperfect beauty, the genious, the palpable reality of it, I couldn't understand why there wasn't more of it. I mourn on a regular basis, it seems.
    But then I found your writings, and the show, the characters, were breathing again. I was/am really impressed; you write exactly as the characters talked, thought, acted, and I can hear the dialogue, all the particular voices and inflections, in my mind as I read it, see the scenes unfolding (the smiles, the head tilts), just as if I was watching another episode. It's so smooth and plausible; almost as if you had a superior knowledge as to what Angela and crew would do after the show ended, as if (if they were real people, like they always seemed) you were a friend,an observer, reporting to us all the goings-on of our beloved characters. I wanted to know what happened next so badly; I can believe what you write. I can't wait to see more from you (I hope there is more)!!! So, thank you. Thank you so much for bringing the emotional, inimitable experience of MSCL back to me and many others!
    - Aja =)
  • Sarah commented on 07 Jan 2002:
    I can't even describe what I'm, like, feeling because I've been in tears since the scene where Graham left. It's like, I don't think Graham would ever do that, but then I guess all families think that way before it happens. . . and everything they said, every word of the entire script, I just saw it all in my mind, and I had to remind myself that these episodes had never actually bee made. But it was nice to havesome closure, I just hop you write more, because I've read all of your fanfic and I've just been sitting here for hous, enjoying it. So thanks and please, please don't stop. Ever!
  • Laura commented on 05 Apr 2002:
    The author does a good job at continuing the characters quite accurately and this makes reading enjoyable. I like the way the author is starting to bring more of Jordens personality out in the stories.
  • anonymous author commented on 04 Jun 2002:
    great scene with Patty Neil and Angela at the beginning!
    Angela would NOT say to her father "what's this sluts name" better if she just looks at him or says "who is she?"
    I don't agree with how you describe Hallie's apt. Have you seen her hair, her jewlery, her clothes, she
    had Stephen Dieders' asst.'s #, this woman is organized and put together. She may be a mss, but her furnature and wall paper are nothing but the best
    I like Jordan's graduation twist, something I never thought of
    I think i have said this to you before, but I think that Jordan works better as a mysterious characterm, and I think tht we aregetting too into his personal life with all of thse arguments with his father. perhaps if Jordan just didn't respond, which seems more in character for him (and just a technical comment, I don't think he would be allowed to smoke in the school parking lot which is why he goes under the bleachers, and i know that htis will nver be on TV so it doesn't reaally matter, but they never really showed Jordan smoking that much, I only actually remember that one scene in "Strangers in th ehouse" because as gorgeous as Jordan is they did not want to support smoking -- most of the "bad" habits of the characters: sex, drinking are not glamorized, they have real consequences, but its harder to do thaat with smoking so they tried to make it not such a big part of his characters)
    I enjoyed your story
  • anonymous author commented on 04 Jun 2002:
    I could totally see Angela saying 'whats this sluts name?' because shes so filled with anger at the time, and judging by her past experience with jordan and rayanne, she would be madder at the woman than she would be at graham. and she's never been one to hold back whats on her mind. i liked a few of the writers stories, some of them were just ok, but the opening night ones i thought were great. i also think graham would've had the affair and the scene where he broke the news to his family was a heart-wrencher and the way he ended it with hallie was really well-done
  • Ben Hoback commented on 31 Oct 2002:
    This is actually a reveiw of the whole series. Over-all I thought your series was great, everyone stayed in character, problems that the show had left unanswered were used, and the dialog was well done. However, I also thought that a number of the problems were too quickly solved, Brian and Jordan's car accident for example, why wasn't Brian mad at Jordan, for a little while at least? Also, Rickie's flight from Mr. Katimski's place, he had a decent reason (to him) for running away, why didn't he need any convincing to go back?

    But still, it was a good series that obvious took a lot of work. Overall rating: between 8.4 and 8.9.
  • Irene commented on 05 Jun 2003:
    Hello, Jim?

    I know it's been a while since you've written, but I was hoping you had plans to continue this story. MSCL getting cut-off the way it did has always been frustrating to me -- not knowing where things would go, wondering if they would go the way I wanted them to. Your scripts have been spot-on and feel . . . possible. Like I'm actually watching/reading a screenplay from the show. Real. Man, that's a satisfying feeling. And . . . ultimately frustrating. Because . . . because I want more. It's been nearly two years, so I'm guessing you're done with this story, but. . . take pity on a poor Brian Krakow/Angela Chase fan: if you have any bits you've started that advance or resolve that storyline, that fulfill the wonderful promise of that sweet, short conversation from the last scene of the last broadcast episode, I'd be . . . I'd be most grateful.

    And thank you for giving us more of the show.

    Irene
  • anonymous author commented on 16 Jun 2003:
    Too much Jordan personal stuff.
  • anonymous author commented on 09 Jul 2003:
    Good job on the story. I'm looking forward to reading your final episode. I could see this happening on mscl, but I don't think there would be as much stuff on Jordan. I can see Graham leaving his family there was a hint of this in the final episode that was broadcasted on tv.
  • Saria commented on 22 Jul 2003:
    I completely agree with your last 6 episodes. Thats how M.S.C.L should have been played out. I was a bit disappointed that Angela forgave Rayanne and Jordan so quickly, adn that she forgave Jordan first. I think she should have made him sweat it out for a while. Please do another series, your keeping this much loved show going.
  • mscl fan commented on 11 Dec 2003:
    The ending to the show left me craving more, so it is nice to see the effort that you put into these scripts. First off, the Patty and Graham split up is great, and necessary. The relationship between Jordan and his father is one that was barely explored during the show, so it is appreciated in your stories. Brian desparately needed to move on with his life. The awkwardness of the movie date was perfect. I am slightly disappointed with the Rayanne/Angela and Sharon/Kyle story-lines. Kind of predictable and probably wouldn't happen in reality. But that's how TV gets viewers, right? I wait with great anticipation for your next stories.
  • anonymous author commented on 24 Jan 2004:
    Write more! I'd love to read more about Angela and Jordan though.
  • big b commented on 12 Aug 2004:
    i want more jordan!
  • Danielle commented on 01 Nov 2004:
    ur series was so good...for the first time i felt a sense of closure...i thought everything was great...at first i thought u were insanely stupid for the graham thing...but after reading on i found it just fit...i loved every second of it and i spent hours reading the entire thing non stop!!...thank you for this wonderful series!!
  • Becca commented on 24 Dec 2004:
    I think this was a well-written script, although I can see the action of it panned out over three episodes: one focusing on Graham and Hallie with a smattering of Sharon and Kyle, one focusing on Brian and Kelly vs. Angela and Jordan, and one focusing on Mr. K. and Rickie's situation. The one relationship that could have been capitalized on that was kind of neglected was Rayanne's relationship with Amber. I think Amber is a very important supporting character; she is trying to be a good mother, but with bad influences, distractions, and no guidance, she keeps flubbing. The show contrasts her with Patty frequently. I like how the Graham/Patty/Hallie situation was handled, but I think Graham and Patty would have kept up a facade for a little while, especially since Graham needs Patty to know how successful he can be professionally (regardless of how successful his affair has become, Patty is still important to him, as you have shown), and Patty is so good at acting happy when things aren't going her way. Their arguments were so much about body language, neglect and need, verbal barbs, and delving into the past (i.e. "That makes four...I thought you said there were only three before me...). I hope you continue to write, because I enjoy reading about Angela Chase, who in many ways is a replica of myself in high school!
  • Becca commented on 24 Dec 2004:
    I just read over my last review, and I want to add something...EXCELLENT JOB! As a teacher, I tend to get too wordy and critical, and I thought this was a super story. I don't want you to think I didn't enjoy reading it...I just made a few suggestions. BRAVO!!!!
  • mandy commented on 08 Feb 2005:
    will you be writing anything else? i know it's been 4 years, do you even look at this? i liked your stories a lot.
  • Ele commented on 13 Jul 2005:
    i loved how you just summed everything! At times I cried others I laughed I was very complex and just a plessure to read!
  • dafna commented on 15 Nov 2005:
    i love my so-called life. and i think your stories really go along with what the director would have wanted the show to go like. so great job, and i hope you write more because i have had a good time reading your stories.
    - Dafna.
  • Bini gave this story a 4.0/5 4.0/5 rating and commented on 09 Apr 2008:
    I really enjoyed this, and hope, allthough you haven't updated for some years, that you someday will.

    I think all the characters pretty much stay in character, and the plot is great.
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“Lately, I can't even look at my mother without wanting to stab her repeatedly.”

Angela Chase, Episode 1: "My So-Called Life (Pilot)"