Cupid - 1.03 - Heaven... He's in Heaven

CUPID

"Heaven... He's In Heaven"

By
Jeff Reno
&
Ron Osborn

TEASER
FADE IN:

EXT. CHICAGO SIDEWALK OVER A BRIDGE

Claire is walking. She is carrying her briefcase and a paper bag in one hand, in the other hand she's carrying a large cup of coffee. Trevor is on the bridge, waiting for her. Claire doesn't bother to stop.

TREVOR
(walks along side her) 8:45. Let me guess. One apple fritter, one raspberry jelly, decaf coffee, two sugars and a cream on the side.

CLAIRE
(she gives him the greeting she'd rather hear) "Hi Claire, nice outfit. Say, it's a bit warm today, isn't it?".

TREVOR Three problems. Number one. Coffee without caffeine. Can someone explain that to me? That's like sex without the spanking.

CLAIRE You caught me at a bad time, Trevor, I'm here.

TREVOR Number two. Ever wonder why those apple fritters don't taste the same as they used to?

CLAIRE No.

TREVOR I'll tell you why. A rat problem like they have, simply doesn't go away overnight. Yikes. Number three...

CLAIRE Can this wait-- a month, maybe six?

TREVOR Predictability! Routine! You're whole life is planned. I know what's in that bag because that's always what's in that bag.

CLAIRE Is there a point to all this, or are you just here to charm and delight me?

TREVOR I have a bone to pick with you.

CLAIRE Oh, I-- I was hoping for a boneless day.

TREVOR It's taking me too long to match up couples, and it's your fault.

CLAIRE Ha ha. My fault?

TREVOR It's your fault. You're slowing people down. In particular, your singles therapy group.

CLAIRE Gee, she said desperately trying to hold on to her good mood, haven't we had this conversation.

TREVOR You got them all making lists. Common interests, compatibility standards... you're turning the world into you.

CLAIRE A number of people have benefited from my advice, you know.

TREVOR A number of people eat other people, doesn't mean it's right for everyone. Look if I had my bow and arrow none of this would matter. If I'm gonna hook up a hundred couples to get back to Olympus without it, I'm gonna need better odds. I need your help.

They stop at street corner and wait for the light to change. They're standing in a group of pedestrians also waiting for the light to change. The bystanders can't but help overhear this conversation.

CLAIRE I'm all ears.

TREVOR Actually you're not. I've seen you naked.

That gets a bunch of looks from bystanders.

TREVOR (cont'd)
(raises his hand to stop her from responding) The god thing, omnipotence. Third date. You where twenty-five years old. Kinda of a cosmic window peeking thing. You have a real nice...

CLAIRE
(cuts him off) I would think changing the subject would have been a good idea, but look, Trevor, there's a huge advantage of getting someone with a like-minded profile.

The light changes and they continue walking.

TREVOR Know what your problem is?

CLAIRE Not walking fast enough.

TREVOR Your problem is, is that you stick everyone into these neat little psychological shoe boxes. Needy co-dependant, insensitive aggressor, delusional psychotic.

CLAIRE If the shoe box fits...

Trevor jumps in front of Claire, and begins to walk backward.

TREVOR You know what, you just can't pick a profile and assume that it'll get the job done. "Hi my name is Trevor, I'm a Pisces. My pet peeve is the development of global thermal nuclear weaponry. My favourite colour is rug burn..."

CLAIRE I'm talking about finding characteristics, things you're interested in...

TREVOR "...hardly ever do those midnight sacrifice of small animals. I can't get the otter's blood out of my coffee table..."

CLAIRE Oh, where is an open man hole cover when you need one?

She walks pass him. He turns and catches up.

TREVOR You know what, they're just-- they're facts. They have nothing to do with the heat, chemistry and the stuff that make up love.

Claire stops walking.

CLAIRE You know what, that's funny, because the thousands of people who read my books and my column think so. The people who pay me to counsel them think so, and you know who else thinks so?

TREVOR No.

CLAIRE The people who want to hire me to be the managing director of the Sharpnack Institute, which happens to be the-- the foremost psychological institute in the state...

TREVOR So, you-- you've got the job then?

CLAIRE Yes.
(beat)
Almost. Uh, well hopefully by the end of the week. They're sending an observer to come watch me work and, if everything goes well, the job is mine. Making it one more resounding validation of my work. Don't you think?

She continues walking on, Trevor follows.

INT. OUTSIDE CLAIRE'S OFFICE - (JUMP CUT)

Trevor is still following Claire, who is headed to her office.

TREVOR That's perfect. That's exactly what I need. A job like that means you get reach more people. All I need is for you to influence a couple of people my way.

They've reached her door.

CLAIRE
(turns to him) No.

She turns to open her door.

TREVOR No? Why-- why're you being like this?

CLAIRE
(turns back) Why am I being like this?

TREVOR I asked you first?

CLAIRE
(opens her door) Look, Trevor, this job is important to me because it may be the biggest step in my career and I am certainly not going to use it to help Cupid redeem himself in the eyes of the gods, okay? (turns to enter)

TREVOR That time of the month, huh?

CLAIRE
(pauses, then turns to him) What did you say?

TREVOR You know, the first. Rent's due, bills to pay. Always makes me cranky.

Claire turns and enters her office and tries to close the door behind her. But Trevor stops it before it closes and enters.

INT. CLAIRE'S OFFICE - CONTINUOUS

Claire takes her seat. Trevor walks up to her desk.

TREVOR Ah, come on. Look, I never ask you for anything...
(getting off track)
...outside of bail last week, but look, I see statues and fountains, I'm trained to think public urinal.
(getting back to the subject)
Doc, I need a little help.

CLAIRE And I'm looking to give you some. Now, the group meets at seven o'clock, maybe that's a good place for you to discuss what kind you need.

TREVOR I-- I'm sorry, I won't be there.

CLAIRE Won't be there?

TREVOR You have such a knack for cutting through it. I love it when you do that.

CLAIRE Excuse me, you have a legal obligation to be at those group meetings, so I expect to see you there at seven o'clock.

TREVOR Yeah, I'm sorry, but I shan't be there. I will be elsewhere. I'll be at a Greek wedding, possibly a gay bath house, places where people are looking to fall in love.

CLAIRE Listen, Trevor...
(she's had enough)
...okay, you know what, fine. Fine. Fine! If you want to ignore the fact that you have been charged to my care. If you want the courts to find out and re-institutionalize you.

She walks around her desk and goes to the door (which is still open). Trevor follows.

CLAIRE (cont'd) If you want to sit in a padded room and watch the world series on an imaginary TV, then really, why should I care? Huh?!

Claire doesn't notice that someone has entered the room and is now behind her. It's DR. STROUD, the person there to observe her.

DR. STROUD
(answering her question) Because you're his doctor.

CLAIRE
(surprised and embarrassed) Hah, look at that. Um, uh, Trevor, this is Dr. Pat.
(pause, then realizes her faux pas)
Stroud! Stroud. Dr. Pat Stroud.
(to Dr. Stroud)
Uh, "Dr. Pat" (laughs nervously) I don't even know what I was thinking.
(to Trevor)
Um, Dr. Stroud is on the board of the Sharpnack Institute, where I hope to be working under him.

TREVOR
(leans in) Careful, your Freudian slip is showing.
(to Dr. Stroud)
Doc, for what it's worth, I think that you've got a keeper here. She in her wonderfully passion-free take on relationships reminds me of that saying. "She's not getting older, she's getting bitter".

CLAIRE "Better", "better". It's "she's getting better". "Better".

TREVOR Are ya sure?

CLAIRE Yeah, it's "better".

TREVOR Well, all right. Well, I hate to banter and run, but I have a hundred things to do. Okay, nice meeting you.

He shakes Dr. Stroud's hand as he exits.

DR. STROUD And you, Trevor.

END OF TEASER

ACT ONE
FADE IN:

INT. CLAIRE'S OFFICE - DAY (CONTINUOUS)

Claire closes the door and turns to Dr. Stroud.

CLAIRE He says the gods are punishing him. Delusional, of course. Although, sometimes, I'm not sure the gods aren't punishing me. I want you to know how honoured I am that you are considering me for the job.

Claire takes her seat behind her desk. Dr. Stroud also sits.

DR. STROUD Whoa, just between you and me, we're way past just considering you.

CLAIRE Uh, I got all the releases from my patients and my group, so you're free to eavesdrop all you like.

DR. STROUD Good.

Claire's door opens. Jaclyn enters.

JACLYN Dr. Allen. Your nine o'clock is here.

CLAIRE Great, thanks.

Jaclyn exits and Mrs. ANGELA BENNETT enters. Claire stands and goes over and introduces herself.

CLAIRE Hi Angela. Dr. Allen. (shakes her hand) How are you? This is Dr. Stroud, he's here to sit in, I told you about him over the phone. Uh, is your husband coming?

ANGELA Uh, he's running a little bit late.

CLAIRE Okay. If you'd like you can sit on the couch.

ANGELA Uh, thank you, uh, if you don't mind though, I-- I might just uh...

She walks over to the window.

ANGELA What I mean is, my husband has become a bit... unpredictable. I-- I mean we've had other problems, but lately, well, he gets distracted.

She pulls back the curtain and looks outside.

CLAIRE Distracted how, exactly?

EXT. CHICAGO STREET CORNER - JUMP CUT (CONTINUOUS)

A man turns the corner. It's MICHAEL BENNETT. He begins to stroll down the street toward Claire's office building. He has a spring in his step and he's humming a tune. His humming soon turns into singing.

MICHAEL pop ba
Forget your troubles
Come on get happy
We're gonna dance all our blues away
ba-dum ba
Shout hallelujah
Come on get happy

Angela is still at the window, Claire joins her. Everyone on the street is watching Michael. He does a little dance step as he approaches a newsstand. He grabs a paper and flips a coin in the air to the vendor and does a twirl.

MICHAEL (cont'd) Get ready for the judgement day
The sun is shining
Come on get happy
I'm here waiting to take your hand

His dancing starts to become more flashy. Everyone around him is watching.

MICHAEL (cont'd) Shout hallelujah
Come on get happy
We're gonna be going to the promised land
Yeah

He starts to scat. Music begins to play in the background to accompany his scatting. He also begins to dance as he scats and (I mean dance). It's like a scene from one of those old musicals like "Singing in the Rain". Trevor is at a vending stand getting a coffee. He's watching Michael dance, and he likes what he's seeing. Michael is leaping in the air and doing some soft shoe. He even grabs a lady and gives her a twirl.

MICHAEL (cont'd) We're gonna dance all our blues away
Shout hallelujah
Come on get happy
Get ready
Get ready for that judgement... (scatting)...

He grabs a bystanders fedora hat and does a great finish.

MICHAEL (cont'd) ...day.

The bystanders around him begin to applaud, including Trevor.

TREVOR
(lifting his coffee to the man) Bravo! Bravo! Encore!

INT. CLAIRE'S OFFICE - JUMP CUT (CONTINUOUS)

Claire, Dr. Stroud and Angela were watching the whole thing through the window.

ANGELA
(turns to Claire) Distracted like that.

INT. CLAIRE'S OFFICE - JUMP CUT

Michael and Angela are sitting on the couch. Claire is sitting in front of them listening and taking notes. Dr. Stroud is in the background, observing.

MICHAEL I'm aware that it seems insane. I'm aware that you don't normally see a man break into song and dance in the middle of a busy street corner, but I can assure you it's the sanest thing I've ever done. Have you broken any limbs?

CLAIRE Uh, my arm once.

MICHAEL So you've worn a cast then, you know what happens, right? It atrophies. Whatever's in the cast atrophies. It actually starts to shrink from all those weeks of not using it, remember. All right, well, I know this sounds a little melodramatic, but that's what happened to my soul. It atrophied. It started shrinking and shrivelling up because all the best parts of it were never getting used.

CLAIRE And dancing has become your way of... building it back up, giving it what it wasn't getting.

MICHAEL Yeah, that's it. It was like I forgot how to feel anything, you know? Like I was sleepwalking through the day, at work and at home. I wasn't bringing anything to either one.

CLAIRE And now?

ANGELA Embarrassment. He's bringing embarrassment.

MICHAEL People don't seem to mind. I mean, those people out on the street seemed to like it.

CLAIRE How about Mrs. Bennett?

ANGELA That's right, Michael. How about me? When we're out at a restaurant, or on a train and you suddenly... do this. I just... I used to be so proud of you. I used to love people seeing me with you.

MICHAEL It's just dancing, Angela.

CLAIRE I'm guessing what your wife's having trouble with, Michael, is where you're dancing. Have you given any thought to enjoying it in more appropriate places, like, uh, night clubs?

ANGELA He's never been able to get me out to dance. It never came very easily to me.

MICHAEL See the truth is, Dr. Allen, the whole point is spontaneity. I got off the "L" this morning and I looked at the morning rush. The traffic, the noise, the people on a mission, oh god, it was-- the city was so exciting, it was so alive. I-- I felt inspired, so I danced.
(stands up)
I mean you've seen the old musicals, Fred Astaire, right? When he was happy...
(does a little dance step)
...bam, he danced. When he was sad...
(does another dance step)
...he danced. When he was in love...
(does another dance step)
...he danced. I mean he was just this-- this regular guy with this amazing way of expressing his emotions, and he made you wish for those few moments that your own life could be like that. And now mine is.

ANGELA But mine isn't.

MICHAEL I'm sorry. I'm sorry. (sits back down) I-- I just can't give this up.

INT. CUPPA JAVA - NIGHT

The Single's Group is in session. All the regulars are there. They're in mid-discussion. Dr. Stroud is in the background, observing.

Various people talking.

TREVOR I'm saying-- all I'm saying is the guy was amazing. He brought the whole street to a stand still. I had other plans tonight, but then I realized this is your answer to your search for romance.

TINA What gridlock?

NICK I brought the whole street to a stand still last week.

Everyone looks at him.

NICK (cont'd) I hit a light pole. (laughs)

Everyone laughs.

TREVOR Look it, the guy was not afraid to put himself out there, all right. He grabbed a little bit of what everyone in here should grab a lot more of and that's the big "A". Attention.

CLAIRE Attention from a street full of strangers?

TREVOR No, no, no. From a street full of possibilities. Everyday we pass a thousand people on the street, right? Any one of them could be our Fred or Ginger, but we're to preoccupied to notice. "Did my hair dry right?". "Does my tie go with my shirt?". "Should I have left grandma at home with the rottweiler, when I'm out of kibble?". We don't see one another. That's your thousand people out there. Everyone of them was watching Mr. Hoof-n-mouth.

The group gives him confused looks.

TREVOR The dancer. Hoof, mouth - dancing, singing. Need some subtitles? Look it, if everyone put themselves out there into the world a little bit more, I'm laying odds you'd be laying more than odds.

Groans from the group. They don't like what they're hearing.

CLAIRE Well, you're assuming that this person was dancing in the street in order to get someone to respond.

TREVOR No, I'm saying that people did respond, and you as his doctor are more concerned with why he did it.

CLAIRE What do you mean "his doctor"?

TREVOR "His" - possessive pronoun, "doctor" - medicine guy from the Latin "to overcharge"...

CLAIRE Just answer the question.

TREVOR I wanted to talk to the guy. Afterwards he made a beeline to your office. I didn't figure that Arthur Murray was making house calls to your door. Was I wrong?

CLAIRE I'm not at liberty to discuss my cases.

TREVOR
(seeing Dr. Stroud) Oh, gotcha. Big brother watching. We'll chat later.

CLAIRE Actually I'm more interested in chatting now, about why Trevor Hale wants people to pretend to be something they're not in order to get attention.

NICK Look, most of this bunch can't even go up to a girl in a bar. How do you expect them to dance in the street.

TREVOR Do what you do. Tell a joke, recite a poem, play the Brandenburg concerto on a kazoo. The four main words are: hey, look, me, over! You know what it is? It's just great advertising. The guy is practicing the first rule of moving the product. Sell the sizzle not the steak.

CLAIRE Buy a steak just for the sizzle, it's a good way to get burned.

TREVOR Yeah, it's also a good way to get a little heat in the kitchen.

CLAIRE Heat's cheap. Sizzle fizzles. I-- I really don't think anyone here believes that flaunting yourself in public is an effective way to find a mate.

TREVOR Gosh. Really?

CLAIRE Yeah.

TREVOR So, okay, Mother Nature had it wrong the past hundred million years.
(stands and faces the group)
Procreation 101, class. The Mating Dance. Male lions show off their mane, the moose with the biggest antlers gets all the babes, a peacock without any colour, just another turkey.

CLAIRE Yes, but lucky for some of you, human nature has evolved a step or two past Mother Nature.

TREVOR Oh really?
(takes his seat)
Lucky how?

CLAIRE Well for instance, unlike certain species, our mating dance doesn't require us to kill the male after a one night stand.

Murmurs and giggles from the group (especially the ladies).

CLAIRE (cont'd) Look we may have all, from time to time, wanted to sing, dance, emote grandly and spontaneously in public but what keeps most of us from doing so is common sense. Because we realize it would be viewed for what it is, off-putting and self-oriented behaviour which ultimately serves to drive people apart, rather than bring them together.
(beat)
So, shall we move on.

The group sounds there desire to move on.

CLAIRE Thank you.

Trevor, defeated, does not object.

INT. CLAIRE'S OFFICE - DAY

Claire is packing some of her things into a box. She is seems very happy, in fact, she's humming. The phone rings.

CLAIRE Dr. Allen's office.
(beat)
Oh, hey, Mom.
(beat)
No, no. Uh, actually, I'm getting a jump on some packing and I haven't even had a chance to tell you, but I think I got the job. Isn't that amazing?
(beat)
Gee, Mom, I guess I was expecting a slightly bigger reaction. What is it?
(beat, her cheery demeanour fades)
Um, what are you saying?
(beat, her face becomes very serious)
When?
(beat)
He's dead?
(beat)
Um...

She's left speechless.

FADE OUT

END OF ACT ONE

ACT TWO
FADE IN:

INT. MICHAEL'S OFFICE - DAY

Michael has a corner office in a large building. The walls of his office are glass. Michael is busy gathering some papers. There's a knock at the door.

MICHAEL Come in.

ANGELA Surprise.

MICHAEL
(he is surprised) Hi.

ANGELA Hi.

MICHAEL Wow, uh, I didn't exp-- I mean you never...

ANGELA I know. Just me being spontaneous. Um, I just thought I'd stop by, see if maybe you'd like to have lunch together?

MICHAEL Oh, I can't. I'm on my way to a meeting, and they're gonna go straight through. I didn't know...

ANGELA Oh, no, no, no, it's okay. It was a long shot, I just... (sighs). I used to know things like that. When you had meetings. Well, uh, listen, you have to get back to work. I didn't mean to bother your. (she turns and heads for the door)

MICHAEL
(walks over to her) Wait-- wait you didn't bother me. I'm glad you dropped by. It's just I...

There's a pause. He doesn't know what to say.

ANGELA
(getting something from her bag) I thought you might need these.
(hands him a pair of reading glasses)
They were behind the bed stand.

MICHAEL
(accepting the glasses) Ah.

ANGELA You know how they fall back there sometimes after you read at night.

MICHAEL Thank you. I was looking for them.

ANGELA See you tonight. (exits)

INT. FOYER OF CHICAGO MUSEUM - DAY

Champ enters. Champ is wearing a suit and tie. Trevor is dressed also in a suit and carrying a briefcase. He's also wearing a pair of glasses. He looks very professional. Champ joins Trevor on the stairs.

TREVOR Great, you got my message.

CHAMP Just tell me why I'm wearing a suit, and how much I get paid.

Trevor begins to lead him up the stairs to the second level.

TREVOR Yes the job, right. You're really gonna love it. You get to practice your skills, which if you think about it, is much more rewarding than getting paid.

CHAMP
(stops dead in his tracks) A hundred dollars or I walk.

TREVOR Fifty.

CHAMP Eighty.

TREVOR Sixty, and I'll do the windows.

Champ considers it for a moment, and agrees. Then they continue on their way to the next floor.

TREVOR I've got this husband and wife, the Bennetts, yet another couple that Claire is gonna talk out of romance, anyway I happen to be reading their files...

CHAMP "Happen"?

TREVOR Like it's my fault she takes a bathroom break and leaves her cabinet door unlocked. Anyway...

CHAMP
(stops) Trevor, this is not going to work.

TREVOR I know, I felt the same thing too but, uh, you know, if the gods are willing to give me credit for matching new couples, I figured if the love is dead...

CHAMP No, I mean this. Us. You don't get it do you.

TREVOR No.

CHAMP You don't break into confidential files. You don't butt into people's marriages and you especially don't involve your roommate in other people's marriages. Do you understand what I'm saying.

TREVOR Loud and clear. You're reaching out. We can see someone about controlling that anger.

ANGELA (O.S.) Dr. Hale?

TREVOR Yes.

Angela approaches them.

ANGELA Angela Bennett. (they shake hands) Thank you for meeting me at work.

TREVOR Oh, you kidding? My pleasure, Mrs. Bennett. Whatever makes it easy for the client.

ANGELA I'm sorry, but you said you are part of the observation team watching Dr. Allen?

TREVOR I'm keeping a close eye on Dr. Allen and as I mentioned earlier this is Champ Terrace. My assistant.

CHAMP Assistant?

TREVOR Yes.

CHAMP
(shakes her hand) Hi, Mrs. Bennett. It's very nice to meet you, but actually I have to be...

TREVOR Moving things along. Yes, indeed. We always overbook. So many couples in need. Why don't we get right to our plan to save your marriage.

Angela walks off with Trevor, but Champ isn't following. Trevor turns to him and...

TREVOR Mr. Terrace, chop, chop.

INT. MUSEUM - CONTINUOUS (JUMP CUT)

Workers are busy setting up a pre-historic exhibit. Angela and Trevor take a seat on a bench. Champ stands close by.

TREVOR As I said when I called, I'm very well acquainted with your file. I had a similar case once, many years ago, and I truly believe that dance lessons are the answer to solving you problem.

CHAMP Dance lessons?

TREVOR Dance lessons. Taught, as promised, by our own Mr. Terrace.

CHAMP Wha- excuse me, Dr. Hale...

TREVOR Yes?

CHAMP ... can we have a word here.

TREVOR Oh no, not to worry, she understands all of your qualifications. Uh, master class at the dance academy, Steppenwolf, theatre company and, uh, Tony award winning actor.

CHAMP
(ever the modest thespian) Well, student Tony.

ANGELA I-- I have to tell you, even if I could learn, I don't think I'd be able to do it on a street corner.

TREVOR Oh, no, no, no. Like-- like I said, you wouldn't have to. It's all about the effort.

Champ takes a seat next to Trevor and hangs his head in his hand. He can't believe what's going on.

TREVOR (cont'd) All right, what if I told you he wished you could feel the same joy that he feels when he dances?

CHAMP Did he tell you this at your office or during a house call?

Trevor gives him a look. Then looks back to Angela.

TREVOR I've probably said too much already.

ANGELA
(thinks about it for a moment) Mr. Terrace, uh, I'll do my best. If there's a chance it'll save my marriage, I owe that to Michael, don't I?

How can Champ say no to that?

CHAMP
(he can't) So, when do you want to start?

INT. TAGGERTY'S - DAY

Claire is sitting at a table. Dr. Stroud, just finishing a phone call, returns to his seat across from Claire. Claire, however, seems to be in another place.

DR. STROUD So that was the case load administrator, he'd like to see you tomorrow.

CLAIRE Oh.

DR. STROUD
(looking at his schedule) Let's say breakfast, then at lunch we can discuss any questions that arise and then go over institute policy at dinner.

Dr. Stroud notices Claire's less then enthusiastic expression.

DR. STROUD That is, uh, if that fits in with your schedule.

CLAIRE
(snapping back to reality) No-- no, no, uh, all those meals, I'm beginning to wonder if this job has any minimum weight requirement, heh.

Trevor enters.

TREVOR Hello everybody. It's a great day isn't it? Ooh, kinda Sly and the Family Stone-esque don't you think? You know why? Because I've got to
(sings and dances)
Dance to the music, ow.
I know what you're thinking. "Nice ambience here, I gotta come more often". You should. 'Cause we know how to be happy.

CLAIRE
(becoming uncomfortable with Trevor's presence) You know, I am gonna miss my three o'clock if I don't leave right now, so I'm going to excuse myself and I'll meet with you tomorrow.

Dr. Stroud stands as Claire gets up and leaves.

DR. STROUD Sure. Well, fine tomorrow...

CLAIRE Okay.

She heads for the exit.

TREVOR What? Something I said? Claire? (she doesn't respond)

LINDA
(pulling him back) Trevor, no. Not today.

TREVOR What's the problem?

LINDA There was this guy, used to come in here a lot. Claire met him here one night. Jack Conathon was a pilot.

TREVOR Uh-huh.

LINDA (cont'd) They had this very short, very passionate relationship. They were even talking about marriage.

TREVOR Wait, hold on, our Claire. Icy demeanour, yay tall. Had a passionate relationship?

LINDA Yes. Until he left. No explanations, no goodbyes. I don't think Claire ever got over it. If you ask me, she was still in love with him.

TREVOR What happened? The guy get married?

LINDA No. He died last week in a plane crash.

Trevor now understands Claire's behaviour and feels bad about his.

EXT. OUTSIDE CLAIRE'S TOWNHOUSE - DAY

Trevor, carrying a paper bag and a large cup of coffee, walks up to Claire's front door. Claire has just exited her house.

TREVOR
(holds up the bag and coffee) Morning. Heh heh.

CLAIRE So it is.

She turns and locks her door.

TREVOR How you doing?

CLAIRE Good. Fine. Top of the heap.

TREVOR You look very, uh...

CLAIRE Late for a breakfast meeting with Dr. Stroud?

TREVOR That too.

Claire starts walking down the street. Trevor walks along beside her.

TREVOR (cont'd) Uh, came by last night. Your light was on, uh, but you weren't around, I guess.

CLAIRE Must have been grocery shopping.

TREVOR Well, I saw your car out front.

CLAIRE Uh, it's a short walk.

TREVOR Really?

CLAIRE Uh-hmm.

TREVOR Called a bunch of times. Got your machine for three or four hours...

CLAIRE Long grocery list, Trevor.

Trevor jumps in front of her, stopping her.

TREVOR Okay, look, I was trying to get you out to dinner, you know. But then I ended up going out by myself. Italian joint. I had pasta and antepasta. Ended up still being hungry. Heh Heh. Pasta and "anti" pasta, they cancelled each other out. I made a funny.

CLAIRE Got it. Got it. Look, Trevor, I, uh, hate to banter and run, but I'm late...

She walks pass him, but he gets in her way again.

TREVOR Listen, about Taggerty's, uh, I didn't know... about your friend.

CLAIRE That sounds amazingly close to an apology.

She continues walking toward her car across the street.

TREVOR Look, Linda told me a little bit about him and it sounds like he was more than just a friend...

CLAIRE Was. Yeah, it was a long time ago. I haven't seen him in several years and he lived unhappily ever after and it's really not something I'm interested in talking about, okay?

TREVOR Right. So you put all behind you then, right? You know what I can't figure out?

CLAIRE Is that a trick question?

TREVOR Why you're doing this. I'm not a psychologist but I know when you're holding back.

CLAIRE You're right, you're no psychologist.

TREVOR I mean you never got a final word, you never got to resolve it. That's got to make you mad?

They reach her car.

CLAIRE I'm not mad.
(beat)
I am not mad, Trevor. I am sad. But he died last week and... I learned about it two nights ago and I have had time to get past it. Okay?

TREVOR If you say so.

CLAIRE I do say so and I'm done saying so, okay, Trevor. People die. It's too bad, but they do. Friends, relatives, ex-lovers. They die. I'm gonna die, you're gonna die. We're all going to die. Okay?

She opens her car door and puts her things inside.

TREVOR I hate to split hairs, but us immortals have the improved HMO.

CLAIRE Really?

TREVOR Yeah.

Claire turns and gets something out of her car.

CLAIRE Give me your hand.

He does. She takes one of his fingers and pokes it with a pin.

TREVOR Ow. What was that?

CLAIRE A prick.

TREVOR
(looking at his injured finger) I doubt it, it was way to pointy.

CLAIRE See that. That's blood, Trevor. Greek god or not, you seem to be just like everyone else.
(her voice begins to tremble a little bit)
Stuck in a very imperfect container. A container that's not designed to survive plane crashes, car crashes, or-- or falling pianos. A container with a heart, a liver, kidneys and-- and they could all just stop functioning at any time, causing complete and irreversible... death. Just a little fact that we mortals have to deal with, that, uh, our bodies, these bodies weren't built to last.
(beat)
Life has endings, Trevor. You just learn to deal with them. That's all.

Claire gets in her car and drives off. Trevor is left standing in the street. He is staring at the blood flowing from his finger.

FADE OUT

END OF ACT TWO

ACT THREE
FADE IN:

INT. MICHAEL'S OFFICE - DAY

There's a great view of the river from his office. There's a picture of Michael and Angela near the window. In the picture the two look very happy. Michael is at his desk reading some papers. He stops reading the papers and turns to the picture and starts to sing.

MICHAEL The way you wear your hat
The way you sip your tea
The memory of all that

He stands and picks up the picture. He walks to the open space in front of his desk.

MICHAEL(cont'd) No, they can't take that away from me
The way your smile just beams
The way you sing off key

He does a side step then a little twirl. The people outside his office can see his dancing through the glass wall.

MICHAEL (cont'd) The way you haunt my dreams
No they can't take that away from me

BEGIN MONTAGE

A piano begins to play along to Michael's singing.

INT. TAGGERTY'S - (JUMP CUT)

Claire is sitting at a booth with Dr. Stroud and another man, presumably someone from the Sharpnack Institute. Dr. Stroud and the man are going over some papers. Claire doesn't look like she's paying attention and is a little startled when Dr. Shroud passes her a piece of paper.

MICHAEL (V.O.) We may never, never meet again on that bumpy road to love
Still I'll always, always keep the memory of

INT. CHAMP & TREVOR'S APARTMENT - (JUMP CUT)

Champ is giving Angela a dance lesson. They're practicing a waltz.

MICHAEL (V.O) The way you hold your knife
The way we danced till three

INT. MICHAEL'S OFFICE - CONTINUOUS (JUMP CUT)

Quite a crowd has grown in front of his office. They're watching him dance with the picture.

MICHAEL The way you changed my life
No they can't take that away from me

INT. CLAIRE TOWNHOUSE - (JUMP CUT)

Claire is sitting in her living room in front of a box on her coffee table. She opens it. It contains photographs. She looks sad as she picks up and looks at one particular picture. The picture has her and Jack posing for the camera, they look happy. Claire just stares at it.

MICHAEL (V.O.) We may never, never meet again on that bumpy road to love
Still I'll always, always keep the memory of
The way you hold your knife

INT. CHAMP & TREVOR'S APARTMENT - CONTINUOUS (JUMP CUT)

Angela is doing quite well. Champ even twirls her.

MICHAEL (V.O.) The way we danced till three

INT. MICHAEL'S OFFICE - CONTINUOUS (JUMP CUT)

At the same moment Champ twirls Angela, Michael twirls his phantom dance partner. Then he continues dancing around his office, while being watched by the crowd outside his office. They've enjoyed watching him dance.

MICHAEL The way you changed my life
No they can't take that away from me
No they can't take that away
They won't take that away

Returns to his chair and spins in it. Then he puts the picture on the corner of his desk and looks at it.

MICHAEL They can't take that away

INT. CLAIRE TOWNHOUSE - CONTINUOUS (JUMP CUT)

Claire puts away the photos and closes the box.

MICHAEL (V.O.) From me.

END MONTAGE

INT. CHAMP & TREVOR'S APARTMENT - CONTINUOUS (JUMP CUT)

Champ and Angela are still in a dance lesson. She seems to be doing all right, but then nearly trips when Champ tries to spin her towards him.

ANGELA Ow.

CHAMP You all right?

ANGELA I'm sorry. I'm so clumsy.

CHAMP It's okay.

ANGELA I just have to...

CHAMP Have a seat. It's all right.

She sits down. Champ shuts the CD player off.

ANGELA I guess I'm not the best student.

CHAMP Don't be so hard on yourself. I mean, that move is a little tricky, you know.

ANGELA You're being polite. We've been going over that all afternoon.

She changes her shoes, then puts her dancing shoes in her bag.

CHAMP We'll keep going over it, you know. The key to this is practice. Dance is the sort of thing that can take...

ANGELA Years. I know. It's a little like a marriage, if you don't keep practicing one day you'll wake up and you find you're out of step.
(beat)
You know, maybe this is a good a place to stop. (stands)

CHAMP For tonight?

ANGELA Thank you, Mr. Terrace, for trying.

CHAMP Listen, Angela...

She gathers her things and exits.

INT. TAGGERTY'S - NIGHT (JUMP CUT)

Someone is pouring a long row of Tequila shots on the bar. It's Trevor. He's not his usual happy self. Champ sees him pouring out the shots and goes to him.

CHAMP Trevor, what is going on?

TREVOR
(still pouring) Couple tight pennant races, a further erosion in our faith in government. Any more than that, you may want to grab a Newsweek.

CHAMP I mean with the glasses.

TREVOR I'm speeding up the mating process. Which you didn't help by botching up those dance lessons.

CHAMP Botching?

TREVOR Botching.

Champ tries to defend himself but Trevor cuts him off.

TREVOR You know exactly what I'm talking about. Sixteen messages I left her, three times I went to her house just to convince her to continue all the dance lessons. Haven't heard a word.

CHAMP Well, maybe she doesn't think dancing is the answer.

TREVOR That is the problem, everyone is thinking too much. I'm gonna take the thinking out of it. I am pouring Tequila for everyone in here, and I am not stopping until they're so sloppy they're asking chair legs to home with. All right?

CHAMP What?! Trevor, you can't-- no.

Champ goes around the bar to try and stop him.

TREVOR Yes.
(to the bar)
Free Tequila shots everybody! Here we go.
(people start taking glasses)
Enjoy that.
(to Champ)
I figure if I can get enough people to bumpin' body parts a certain percentage of them are bound to fall in love.

CHAMP
(grabs a shot from him) You can't do that.

TREVOR Oh yeah? Give me four good reasons.

CHAMP You don't have any money.

TREVOR Mm-hmm.

CHAMP Linda will fire you.

TREVOR Right.

CHAMP You'll be liable and I'll be the one keeping a bar full of drunks from breaking tables over each others heads.

TREVOR You don't understand. You thought I wanted to get out of here before? I just got a complete check-up, except for the rubber glove thing. Bad memories. Bachelor party over at Mercury's. The minatours got all crazy, they all...

CHAMP Trevor.

Champ goes over and collects the Tequila shots before more can be taken.

TREVOR Look, I get the results in one week. Okay? What if-- what if I've got something? What if it's fatal? You know how many things can go wrong with this body? I did a little reading about this. We're talking fifty trillion cells, sixty thousand veins and arteries, and thirty feet of colon. That is a lot of road. The only pot hole that I want is at the very end. I got immortality waiting for me, all right? I don't want to die.
(beat)
Look, I've-- I've never had to think about this kind of stuff. Okay? You know, not surviving things...

CHAMP
(sincerely) Trevor. You're not gonna die. Okay?

TREVOR Ever?

Trevor pulls off his apron and heads toward the exit.

TREVOR Tell Linda to take my shift, all right? I'm gonna take a sick day.

He exits.

INT. CLAIRE'S OFFICE - DAY (JUMP CUT)

Claire is standing at her desk going through some files. She seems very agitated.

CLAIRE Jaclyn!

Jaclyn enters.

JACLYN What's up?

CLAIRE Have you seen the McBlane file? I can't seem to find it anywhere.

JACLYN Um, it should be in your file cabinet, Dr. Allen.

CLAIRE Yeah, I know it should be there but it isn't and I looked in every drawer.

JACLYN I wouldn't know then. You usually organize your files.

CLAIRE Yeah-- yeah, I know. I-- I usually organize my files. I-- I organize my files. I organize my clothes drawers. I organize my, uh, ha, CDs. I organize my whole day. See, I've become a very organized person.
(takes her seat)
Did you know that I have coffee and doughnuts every morning at 8:45?
(beat)
Never mind. Never mind. Um, (clears her throat) can-- can you please check the file room for me.

Jaclyn exits, she left the door open. A few moments later Michael enters. He knocks.

CLAIRE Oh, Mr. Bennett.

MICHAEL I'm sorry. Am I-- am I interrupting you?

CLAIRE No. No.

MICHAEL I was gonna call but I work close by and I thought, uh...

CLAIRE Is, uh, is there anything wrong?

MICHAEL Well, it's just... I'm sorry. I've decided to discontinue our sessions. It isn't personal, Dr. Allen. I just... I don't think you're ever really going to understand the choices I've made.

CLAIRE I see, and, uh, your wife?

MICHAEL I think Angela feels that it wouldn't do much good to come by herself.

CLAIRE
(seems to be agitated) Well, that's-- that's the point, isn't it? By herself.

MICHAEL I'm sorry?

CLAIRE Angela. She's by herself. You're-- You're leaving her by herself, now. I mean she-- she has to work through all this by herself. Does that sound fair to you? Does that really seem right?

MICHAEL
(confused) I'm not really sure I understand where you're going with...

CLAIRE
(as she speaks, it seems like she's getting angry) Mr. Bennett, um.....
(stands and goes over to him)
You-- you may think that it takes a lot of courage to spot a problem and-- and change your life to solve it and maybe it does. But maybe, maybe it even takes more courage to do right by a person who is clearly devoted to you... a person who loves you. Relationships demand a certain stability, a certain reliability and-- and more than that, they demand trust. Now a person in a loving relationship made a promise that-- that-- that he'll be there, that he won't abandon them. That he won't just up and leave her behind while he's off pursuing whatever selfish agenda he might want to pursue. Now any man who does not keep that promise should know that he is doing something that can forever change that woman he has left behind. Forever leave her with a-- with a-- an anger and frustration that she may never get past and as far as I'm concerned, Mr. Bennett, any man who does not have the decency to honour his commitments the same way that she is honouring hers is not a man who deserves any sympathy and is certainly not a man who deserves to be mourned when he is gone.

We hear someone clear their throat. It's Dr. Stroud. He enters through the open door. He's heard the whole conversation.

DR. STROUD I'm sorry, Doctor, Mr. Bennett, uh, I'll come back at a better time.

Dr. Stroud exits. Claire sighs and looks really disappointed at how she just behaved.

FADE OUT

END OF ACT THREE

ACT FOUR
IN:

EXT. BY THE LAKE, NEAR NAVY PIER - DAY

(Navy Pier is the amusement park in Chicago. It's on a pier on Lake Michigan.)

Claire and Jaclyn are sitting at a park bench. They're in mid-discussion.

CLAIRE No, he was very nice about it. Apologetic even.

JACLYN But?

CLAIRE But, they can't have the head of the institute allowing personal problems to cloud his or her professional judgement, so...

JACLYN Sorry, Claire. I know how much you wanted it.

CLAIRE I-- I know. Things do seem to be slipping away from me. Don't they?

A pause as Claire looks over across the lake at the amusement park.

CLAIRE You know, I was, uh, I was thinking about the only time I was on that ferris wheel. That was my first date with Jack.

JACLYN Wasn't that the same night you met him? You worked fast.

CLAIRE Oh, you don't know how fast. Heh. We slept together that night.

Jaclyn gives her a smile and her expression says "You did? Wow!".

JACLYN Oh...

CLAIRE We couldn't help it. I couldn't help it. We just... we couldn't keep our hands off of each other.
(beat)
I remember once, he, um, took me up in his plane. He put it on auto-pilot. We must have circled the lake for about two hours.

JACLYN You mean in the plane? (wow) Isn't that dangerous?

CLAIRE I'm sure it was. That was our second date.
(beat)
You know, it's-- it's... it's not true he just left for no reason.
(beat)
It was because of me.
(beat)
I-- I was everything I tell my clients not to be. I... (sighs) went from zero to sixty overnight. I... I was almost irrational. I pushed, I pulled, I... god, I held on as tightly as I could. For the whole four months we were together.
(beat)
I guess that's what just drove him away.
(beat)
So I learned... and I became everything I am today.

Claire begins to cry.

CLAIRE
(trying to cheer up) A new job would've been nice. Heh.

They grab their thing and leave.

CLAIRE Come on, let's go.

EXT. UNKNOWN - NIGHT (JUMP CUT)

All we see is Trevor sitting, with the night sky behind him. He looks like he's in deep thought.

EXT. UNKNOWN - DAWN (JUMP CUT)

The camera has pulls back to reveal that Trevor is sitting on top of a dome, on top of a building. He hasn't moved all night.

EXT. STREET - DAY (JUMP CUT)

Trevor looks like he's in some kind of daze. He isn't paying attention to anything around him. When he crosses the street he is nearly hit. The taxi honks at him but he still doesn't come out of his daze.

EXT. BUILDING BEING DEMOLISHED - (JUMP CUT)

Trevor is still in that daze. He's walking pass the building. There are sounds of heavy machinery moving around. In the background large construction vehicles are driving by. There is a forklift carrying bricks. Trevor is walking in the same direction. Trevor and the forklift move off screen.

WORKER (O.S.) Look out!

There's a loud crash and we see bricks falling from off screen. The screen fades out to white.
(beat)
We hear Trevor moaning and groaning in pain. When we fade back in, there's a bright light. A man stands in front of the bright light. We can't make him out, he's just a dark figure with a bright light behind him. He looks almost godlike. Could it be Zeus?

ZEUS? (O.S.) Knock. Knock.

Trevor lying on a pile of bricks. He is covered in dust.

TREVOR Is someone there? Every-- everything's fuzzy.

ZEUS? You took on half a ton of bricks. The bricks won.

TREVOR Zeus?! Is that you? I was waiting for you on top of that building all night.

ZEUS? More to the point is who you are. Some pathetic Joe who's just wondering what's gonna happen if he dies before he matches a hundred couples?

TREVOR Exactly... except, you know, for that pathetic part.

ZEUS? Maybe part of your punishment here on Earth is to find out about mortality. You know that whole "act outrageous" bit you were running earlier? The shrink lady's right. Mortals don't "do it" to bump body parts. They do it because every once and a while they gotta thumb there nose at death. It makes them feel more alive.

TREVOR Alive. Okay. Okay. So-- so getting back to me...

ZEUS? The way I see it, there's a plan. So far, so good. So I'm outta here.

TREVOR No. Wait. Hold on. You didn't answer my question. Am I still gonna be immortal? I mean, if something happens to me, are you going to let me die?

ZEUS? Don't worry...

Trevor's vision becomes clear and the blurry figure of Zeus becomes a MAN.

MAN ...you're not gonna die.

The man and a construction worker help Trevor up. Trevor coughs as he's helped up. He stumbles a bit, but it looks like he's all right. He does seem a little confused and stares at the man.

MAN Hey you got it? You just had a bump on the head. That's all. You're not gonna die. Hey buddy, you yammered a lot when you were out. Must have been a nice dream.

INT. MUSEUM - DAY (JUMP CUT)

The new prehistoric exhibit is ready. Angela is going over the displays and checking things in her notebook. Michael enters the scene.

MICHAEL Hi.

ANGELA
(surprised) Hi.... I'm sorry, uh, this section is closed. I-- I was just finishing up.

MICHAEL I just wanted to talk. I thought, maybe... I don't know. I haven't come to see you at work in a while and I thought that...

ANGELA Well, I'm pretty much done, I mean... we could just talk here.

MICHAEL Okay.

They sit on a bench.

MICHAEL I saw Dr. Allen this morning. I told her we weren't coming back. She said a couple of things...
(beat)
I don't even know what I'm doing. You know? I just.... I'm getting older. I'm getting scared. I guess I was just looking for something to keep me excited.

ANGELA I get scared, too, Michael. But all it makes me want is to look for you.

MICHAEL I'm sorry. I-- I'm really sorry. You know, I didn't mean to leave you behind. I... Look, the thing is, if you're interested, I'd be willing to go back to Dr. Allen and-- and work through all of it, you know, the dancing and everything else.

ANGELA
(glad to hear it) I'm interested.
(beat)
But... just to be fair... someone's been trying to convince me that I need to make a compromise too.

Angela stands up.

ANGELA Would you like to dance?

Michael is speechless. He stands and they begin to dance as Angela nervously sings.

ANGELA
(her voice trembling) It seems we stood and danced like this, before
We looked at each other in the same way then
But I can't remember where or when

Michael joins in.

MICHAEL & ANGELA (duet) The clothes you're wearing are the clothes you wore
The smile you are smiling you were smiling then
But I can't remember where or when

The laugh as they do a twirl. They stop dancing, and Michael, is surprised and overjoyed.

MICHAEL Look at you. You're just... this-- this is... wh-when did you...?

ANGELA We're really not so old, you know?
(looks over at a nearby fossil display)
We'll be roaming the Earth a little while longer. I just want to do it together.

MICHAEL Me too.

They begin to dance again, this time with more feeling and confidence. Music starts to play, in the background, to accompany their singing.

MICHAEL & ANGELA (duet) And so it seems that we have met, before
And laughed, before
And loved, before
But who knows where or when.

End the dance with a romantic dip.

EXT. CEMETERY - DAY

Claire is kneeling over a grave (Jack Conathon's). Trevor comes up and rests a flower on the tombstone.

TREVOR Hope you don't mind. Linda told me you'd be here.

Claire looks up at him.

TREVOR (cont'd) Wanted to come down and check up on you. See how you're doin'.

CLAIRE Yeah, I just wanted to come by...
(sighs)
Make sure I guess.

TREVOR Sorry about your job.
(kneels next to her)
The truth is, it may be a blessing. You can stop wrapping your whole life up in your work.

CLAIRE Do I do that?

TREVOR Yeah.

CLAIRE Oh, I, uh, got a call from Angela Bennett.
(stands)
She and Michael are coming back to counselling.

TREVOR Angela Bennett?

CLAIRE Mm-hmm.

TREVOR
(clears his throat) Not a familiar name.

CLAIRE Really?

TREVOR No. (stands)

CLAIRE Well, she also wanted to thank Dr. Hale. Thought you might know what that's about.

She walks pass him goes to sit on a nearby bench.

TREVOR Okay. Uh, here's the deal.
(goes and sits next to her)
I did something kind of bad, and, uh, now that it's over and everything's worked out and you're dealing with everything you're dealing with, I'm-- I'm not gonna tell you what it was. Okay?

CLAIRE Okay. But whatever you did, don't do it again.

TREVOR Fair enough.
(beat)
I'm here to take you away from all this.

CLAIRE You are?

TREVOR I are. It's been a rough couple of days for you. I think it's time for you to bust out. Get a little crazy.

CLAIRE Dr. Hale's prescription for mental health?

TREVOR Yeah, you know. Nothing rough. Nothing hard. Won't hurt you. I promise. We'll have fun.

CLAIRE Look, Trevor... thanks. It has been a rough couple of days. All I want to do is go home tonight and go to sleep.

TREVOR Nothing wrong with sleeping. My second favourite thing to do in bed.

CLAIRE You're kind of new to this cheering people up thing, aren't you?

TREVOR You helped me out... yesterday. I got a quick look at the fear that you all live with. You know, of dying.

CLAIRE And that helped you?

TREVOR Oh yeah. It helped me a lot. It's a motivater. It makes you want to go after life really hard, every single minute and that's all I'm suggesting you do. Go after it.

CLAIRE Well, Trevor, that seems more like your style.

TREVOR I heard it used to be yours.
(beat)
I tell you what. I will come down a little bit, ease off the romance thing a little bit. You bring it up a notch, and we'll meet somewhere in the middle, okay? Think of it as-- as rekindling a romance with yourself. That way I can get credit for another match...

CLAIRE Trevor, I mean I-- I don't even... I don't even know what I'd do.

TREVOR What about dancing?

CLAIRE Dancing?

TREVOR Yeah.

CLAIRE I don't think dancing makes you feel better about this kind of thing. I-- I don't know. Heh.

Trevor gets up and goes over to Jack's grave.

TREVOR Doesn't it depend on where you dance?

He begins to do a little dance.

TREVOR
(singing) Heaven...
(points down at the grave)
...he's in heaven.

CLAIRE You-- you're serious? Here? I can see that.

TREVOR Come on. One moment of saying "what the hell!". One moment of spontaneity. Why don't you grab back a little bit of the control that he took away from you?

He goes over to her, takes her hand and pulls her over to the grave. They begin to dance together.

CLAIRE Oh gosh.
(clears her throat)
This is crazy.

TREVOR Exactly.

As they dance a piano starts to play "Heaven, I'm in Heaven" in the background.

CLAIRE This doesn't mean anything's changed, you know? It doesn't mean I'm gonna have a whole new take on counselling. Or relationships. Or romance. Or anything.

TREVOR Of course it doesn't.

CLAIRE Just so you understand.

TREVOR I understand.

CLAIRE But, thank you.

TREVOR You're welcome.

FADE TO BLACK

THE END