Summary: Dana Thomas liked her life just the way it was: she ran a successful business, had just a couple of good friends and enough work to keep her busy twenty hours a day, seven days a week. Her work was everything to her, until she met her latest client.

Disclaimers: This story is written in a script form. I wrote this long ago and have tried several times to convert it to manuscript style, but it is a script and will always be one to me. Because of this it requires a bit of work on the readers part, so open your mind and create the picture. Be the director. This story depicts loving relationships between women. If this is not your cup of tea, please find another story.

 

The characters and story are mine. All comments are welcomed, please send them to: drewwords@yahoo.com

 

August 27, 2012

 

 

LEARNING TO LIVE

By Drew Meyers

Sc. 1A

 

INT. DANA'S OFFICE NIGHT

 

(The scene opens with a shot of a star filled sky. The stars are bright and abundant. The camera slowly pans the vast array of stars as we hear a voice over.)

 

(V.O.)

Midnight, it's the magical, mystical hour.

 

(The camera pans to a full moon.)

 

(V.O.)

The hour of the witch. The moment of newness. A quiet and peaceful time. A time of sleep, a time of rest.

 

(The camera pulls back to reveal Dana Thomas, a woman in her early thirties standing at the window in her office looking up at the moon. She looks tired, and a little empty. She is wearing work casual clothes, her shoulder length hair looks as though she frequently runs her hands through it.)

 

DANA

Or a time to check the Benton specks one more time.

(Dana looks at the neat order of her desk and lets out a defeated sigh. The rest of the room is in shadow.)

Or a time to go home.

(Dana picks up her briefcase, turns off the desk lamp, leaves the room bathed in moonlight and walks out the door.)

 

 

Sc. 2A

 

INT. DANA'S OFFICE DAY

 

(The next morning in Dana's office. It is an office that is full of books, modeling material, paint chips, wallpaper swatch books, bolts of fabric, completed models of on going projects, a drawing table, a desk, a model building table and a sitting area. No matter how much crowds this room it is all neat and organized and does not give off the appearance of a crowed mess. Dana is working at her desk, she is dressed business casual and is trying to concentrate on some work in front of her but not having much luck. A young woman, Amy, enters the office with two mugs of tea and sits down on a sofa across the room. Amy is in her early twenties and dresses very hip, she has the air and confidence of someone who is comfortable in any surrounding and likes almost everyone she meets. She and Dana have a comfortable friendship and easygoing working relationship.)

 

AMY

You were here late last night.

 

DANA

I am always here late.

 

AMY

Not as late as last night or the night before or the night before.

 

DANA

Do you have a hidden camera in here or something?

 

AMY

I know things. So, what's going on?

(Dana picks up her daily organizer and crosses to the sofa.)

 

DANA

I'm just restless. Can't sleep so I might as well get some work done.

 

AMY

You work too much.

(Amy takes the organizer from Dana and begins to make notations in it. Dana picks up a mug of tea and takes a sip. Henry, a very stylishly dressed man in his late twenties enters through the open office door, he is carrying a mug and some papers.)

 

HENRY

Good morning my little doves, how is everyone.

(He plops down in a chair next to the sofa.)

 

AMY

She's been at it again.

 

DANA

I'm bored.

 

HENRY

Well then, lucky for you we start a new project today.

 

 

DANA

Yes, lucky me.

 

HENRY

You just stick with old Hen and I'll spice up your life.

 

DANA

I bet you would. I don't know what's wrong with me Henry, I just feel like I need more. Bigger projects, something really challenging.

 

AMY

Well, you have that meeting today with the new perspective; maybe this'll be the challenge you need.

 

HENRY

One can only hope.

 

 

Sc.2B

 

EXT. REGAN'S HOUSE SAME DAY

 

(Latter that same day. Dana pulls up in front of a house. It is a lovely modestly sized house reminiscent of villas on the Italian west coast. It sits on several acres and cannot be seen by neighbors. Dana pulls out her briefcase and a portfolio, as she walks up to the door and starts to ring the bell, a car pulls up behind her. Regan Mason, a beautiful woman in her mid thirties steps out of the car. She is dressed in blue jeans and a silk shirt. She is graceful and poised, but gives off a feeling that she would be ready to join in a game of basketball at any moment. She carries herself with the confidence of a successful person. She seems very casual and relaxed while at the same time notices everything around her.)

 

REGAN

Hi, I'm sorry I'm late.

(Regan reaches back in the car and slings an old worn leather backpack onto her shoulder and brings out two to-go cups.)

 

DANA

(Dana checks her watch.)

No, you're not late. In fact I'm five minutes early.

 

REGAN

(Regan walks up to Dana, she has a warm smile and eyes that leave you wondering who this person is and what she has been up to.)

I brought drinks to make up for it. I hope you like tea.

 

DANA

I prefer it actually. Can I help you?

(Regan has her hands full with the cups.)

 

REGAN

The keys are in my back pocket, would you mind.

 

(She turns slightly to indicate which pocket Dana should retrieve them from.)

It's the one with a green marker on it.

(Dana hesitantly retrieves the keys from Regan's pocket and opens the door. The inside is revealed, a beautiful empty house.)

 

DANA

Nice opening.

 

REGAN

I thought we could talk out on the back deck. Then I can show you around.

(Regan leads them out back to a deck that looks out on beautiful wild gardens. There is a patio table and chairs where she sets the teas down.)

 

DANA

Ms. Mason, it's a pleasure to meet you, I'm Dana Thomas.

 

REGAN

Please, call me Regan. Have a seat Dana.

So, I've been told that you can create the perfect house for me.

 

DANA

That's my goal. I like to get to know the people I work for a little bit and then help them to build their perfect house, or rebuild as the case may be.

 

REGAN

Well, I'm a very private person, I do a lot of work from home and nature is very important to me.

 

DANA

Why don't I start by showing you my portfolio.

 

REGAN

Not necessary, I've done a little research. I called you because I like your work. The job is yours if you want it.

 

DANA

Lets see, I have no idea what you want, I haven't seen the entire place yet, and I haven't even given you an estimate yet.

(Dana pauses and looks at Regan, she definitely likes what she sees, she takes a couple of beats then gives Regan a jovial smile.)

Yes. I'd like very much to help you remodel your house.

 

REGAN

Great, here are your keys to the place. I have to be on a plane in three hours so why don't I show you around.

 

(As Regan hands Dana the keys she takes the notebook out of Dana's hand that she has just picked up and propels her inside. Regan is use to being in charge and likes honest, natural responses from people, she wants Dana to work off the cuff to see what the woman is like.)

This is just a hello, you don't need to take notes.

 

 

Sc. 2C

 

INT. DANA'S OFFICE SAME DAY

 

(Back in her office Dana is walking down the hall past Henry's open door. Henry calls to her as she walks by.)

 

HENRY

How'd it go?

 

DANA

Good.

(Dana continues into her own office and to her desk. She wastes no time in getting started. She turns on her computer as she pulls out her notebook. Henry follows a few steps behind her.)

 

HENRY

You look rather pleased. Tell me, what's it like?

 

DANA

Not boring.

 

HENRY

You give her an estimate?

 

DANA

Didn't want one. She had hired us before I'd even gotten there.

 

HENRY

She tell you what she wants?

 

DANA

No.

 

HENRY

So what does she want?

 

 

DANA

Simplicity. Elegance. Comfort, casual, graceful. Sanctuary.

 

 

Sc. 3A

 

INT. DANA'S CAR DAY

 

(Dana is in her car talking on a cell phone that is plugged into the car's audio system.)

 

DANA

I'm going to be out of the office all day. Henry, would you mind meeting with Benton at 11:30, Amy has all the specks.

 

HENRY (V.O.)

Gasp and shock! Don't tell me you aren't coming into the office this morning.

 

DANA

No, I want to go back to the Mason house and walk it. The photos just aren't doing it for me.

 

HENRY (V.O.)

Now that's the little workaholic Dana I know and love. Of course I'll handle it.

 

DANA

Thanks Hen, I owe you one. Hey, are we still on for dinner tonight?

 

HENRY (V.O.)

Do geese fly north to escape the horror known as spring break?

DANA

See you then.

 

 

Sc. 3B

 

INT. / EXT. REGAN'S HOUSE SAME DAY

 

(We follow Dana around the empty house and gardens. Back inside she pulls out a sketch pad and tape measure and begins making notes of measurements and doing some rough sketches.)

 

(Inserts of her drawing in several rooms, sometimes she is laying on the floor starring up at the ceiling or looking out a window.)

 

(Dana finally sitting in front of an empty fireplace, taking out her cell phone and a card from her briefcase.)

 

DANA

Hello Ms. Mason, Regan, this is Dana Thomas; I'd like to set up a meeting with you when you return. If you could call me at your earliest convince, I have some ideas I'd like to discuss with you. Thank you.

 

 

Sc. 3C

 

INT. HENRY'S HOUSE SAME NIGHT

 

(At the home of Henry, we are on the outside of the front door. Dana is holding a box of pastries and ringing the doorbell. Henry opens the door and lets her in. The house is neat as a pin and beautifully decorated with lots of artwork and unique one of a kind pieces of furniture.)

 

HENRY

Come on in, can I get you something? A glass of wine?

 

DANA

That would be perfect.

(Henry's partner Taylor, a handsome well groomed man in his late twenties-early thirties comes in the room and walks over to Dana. He is very happy to see her.)

Taylor , it's so good to see you.

 

TAYLOR

Hi Sweetie.

(They kiss hello and Dana hands him the package.)

 

DANA

I brought some pastry from that little Italian shop on Spruce.

 

TAYLOR

Oh my, Angelina's, I absolutely love that place. Come on in and sit down and tell me what you've been up to.

(Henry returns from the kitchen with wine glasses and an open bottle of wine. He spies the box in Taylor 's hand.)

 

HENRY

What did you bring? Angelina's! He does not need that.

 

TAYLOR

Speak for yourself.

 

DANA

That's right. It's the only little sinful indulgence I have these days so we're going to enjoy it down to the last crumb.

 

TAYLOR

Go put these in the kitchen and stop harassing people.

(Henry goes to the kitchen with the box of pastries.)

Does he nag you at work like this?

 

DANA

Yes, but I know he has only the best of intentions. So I keep him around.

 

TAYLOR

Yeah, me too.

(Henry enters the room and takes a seat on a large overstuffed chase lounge across from Dana and Taylor on the sofa.)

 

DANA

So how did it go with Benton ?

 

HENRY

Well, I don't like to brag.

 

DANA and TAYLOR

Yes you do.

 

HENRY

But, everything went splendidly. We really hit it off.

 

DANA

Somehow I thought you would.

 

TAYLOR

Okay you two, we have one rule for tonight. No work talk.

 

DANA

Well, that limits my contribution to tonight's stimulating conservation.

 

TAYLOR

Nonsense, I'm sure if you dig deep you can remember what it's like to have a social life.

 

DANA

Henry, what have you been telling this boy about me?

 

HENRY

That you're a workaholic, you spend all your time with sketches, blueprints, and contractors, and your evenings are spent in the office. Did I miss anything?

 

TAYLOR

Come here Dana, I'll protect you from the wicked witch.

Here, have another glass of wine, let your hair down, and just relax.

We can pick on Henry all night, sometimes he forgets he's not perfect either.

 

HENRY

Speak for yourself.

 

 

Sc. 4A

 

INT. DANA'S OFFICE DAY

 

(In Dana's office. She and Henry are going over some sketches, the phone rings.)

 

DANA

Yes Amy.

Thank you.

(She punches a line on the phone.)

Regan, thank you for calling.

 

REGAN (V.O.)

I just got back last night and got your message. So, when do you want to get together? I'm free all tomorrow afternoon. After that it's pretty hit and miss.

 

DANA

Tomorrow's fine. What time's good for you?

 

 

REGAN (V.O.)

I'll be at the house from one o'clock on. I want to set up a few things there.

 

DANA

I will see you at one then, and I'll try not to take up your whole afternoon.

 

REGAN (V.O.)

Take all afternoon if you need it, I'll see you tomorrow.

 

DANA

Bye.

(She hangs up.)

Henry, I need you to meet me at Regan Mason's house tomorrow at two. I want you to walk the house and meet Regan.

 

HENRY

I'll be there. I'm rather anxious to meet Ms. Mason.

 

DANA

Why's that.

 

HENRY

I've read about her. She seems like quite a lady, an entrepreneur and executive editor of Mason Publications.

 

DANA

I knew she was an editor, but I didn't know it was for Mason Publications.

 

HENRY

Her father is Phillip Mason, founder and owner. You are slipping girl if you didn't put that together.

 

DANA

Well, I've only had one meeting with her and I didn't get her whole life story.

 

HENRY

That's not like you. Dana, I think you need a break. Get out of the office for a while. Take a vacation, go on a spending spree, have an affair, just get away from work for a little bit.

 

DANA

I don't have affairs, and I don't go on spending sprees.

 

HENRY

You also don't take vacations.

 

DANA

Somehow I don't think our new client would appreciate me just picking up and leaving. She'd like to move into her new house sometime in the near future. Besides, I like working. And I don't need a break.

 

HENRY

You know I care about you more than my winter socks, and I will tell you the truth when you need it. And you need it, you have been looking tired lately, you spend way too much time at work and you seem restless. Please promise me one thing. That we won't take on any more clients until you've had a vacation. I don't think you've taken one in the last four years.

 

DANA

Henry, I have a business to run, and projects to complete. I can't just leave.

 

HENRY

We finished the Barkley place yesterday and I can handle the Benton account from here on out. Just finish the Mason account and then take a little time, just a week, and I promise Amy and I will take care of everything here and we'll have clients lined up for you when you get back.

 

DANA

I don't know Henry.

 

HENRY

No, promise.

 

DANA

We'll see.

 

HENRY

Promise.

 

DANA

Henry.

 

HENRY

Dana. This is for you. Please just say you will.

(Dana takes a long pause, and looks around the office.)

 

DANA

Maybe your right. I'll think about it okay, that's the best I can do.

 

HENRY

It's a start.

 

 

Sc.4B

 

INT. DANA'S OFFICE SAME NIGHT

 

(Late night in Dana's office. She is working at her drawing table putting the finishing touches on a sketch. She checks her watch, makes one last mark then begins to collect her sketches into a portfolio. She gathers color palates and photos from around the office, puts everything in travel cases and checks her watch again.)

 

DANA

Henry's right, I've become a slave to this office.

(She writes a quick note, picks up her bags and portfolio and walks to Amy's desk.)

 

It's time for some change.

(She drops the note on Amy's desk. As Dana leaves the office the camera follows her down the hall and stops on Amy's desk so we can see the note which reads:)

 

Taking the morning off

Only call if there's an emergency

Dana

 

 

Sc. 5A

 

EXT. CITY STREETS ONTO TREE LINED TRAIL DAY

 

(The next morning we see Dana riding her bike through city streets and up into the hills. She reaches the top of a hill in a wooded area, gets off her bike and climbs to the top of a large tree. There she sits looking out over the city catching her breath enjoying the moment.)

 

 

Sc. 5B

 

EXT. / INT. REGAN'S HOUSE SAME DAY

 

(Dana arrives at Regan's house just as Regan is opening the front door. Regan sees Dana and gives her a big smile. There is chemistry between the two, which neither chooses to acknowledge. Dana collects her portfolio and joins Regan at the door.)

 

REGAN

We really have to stop meeting like this.

 

DANA

I guess it just means we both have impeccable timing.

 

REGAN

Come on in and make yourself at home. I've got a few things to unload.

 

DANA

I have a few things myself. I'll give you a hand first though.

(Dana places her portfolio inside the door and joins Regan at her car. Regan opens the back of her car and hands Dana a box and follows her in with a folding table.)

 

REGAN

Most of this is for the kitchen and bathroom, just a few necessities to get us through.

(Dana walks to the kitchen and sets the box on a counter, the box is open and she pulls out a tea kettle and six boxes of tea as Regan sets up the folding table near by.)

 

DANA

I like your idea of survival.

 

REGAN

I can go without food, but not my tea.

(They go back to the car and bring in some more boxes and folding chairs. Dana sets the last box on the counter.)

 

DANA

I'll get the rest of my things and set up in the living room while you sort through this.

 

REGAN

Is that a subtle request for some tea?

 

DANA

Well, we did lug all this in for a reason.

 

REGAN

Okay, but at least let me help you, turn about is fair play.

 

DANA

The tea would be more than enough. I'll just be a minute.

 

 

Sc. 5C

 

INT. REGAN'S HOUSE – LIVING ROOM SAME DAY

 

(Dana has laid out the rough sketches of the rooms and opened several of the color pallets. Regan comes in with 2 mugs of tea and a plate of cheese and crackers. They are flirtatious with each other without being obvious.)

 

REGAN

Sugar, no cream.

 

DANA

Thank you, you remembered.

 

REGAN

I'm planning on spending some time here. I have one more load to bring this afternoon.

 

DANA

I asked my associate to meet me here at two, I want him to walk around and get a feel for the layout.

 

REGAN

Then I only have your undivided attention for another thirty-five minutes.

 

DANA

You have my absolute attention at any time.

 

REGAN

Well then, show me what you brought.

 

DANA

These are rough ideas for some of the rooms. I'm afraid you haven't given me much to go on.

REGAN

I'm sorry, I'm afraid it's a rather bad habit of mine.

 

DANA

Habit?

 

REGAN

Aloofness. I can be a little in accessible at times.

 

DANA

I don't see that as a bad habit. But perhaps a bit impractical when it comes to your decorator.

(Regan looks at Dana for a long moment.)

 

REGAN

So lets see what your first impression of me was.

(They begin to look at the sketches. Sitting on the floor drinking tea and eating crackers. Regan looks at each sketch, never reveling her opinion.)

 

 

DANA

They're very rough and just a few ideas I had, they're going to change several times before we're through. I'd like to see your existing furniture, what you want to keep, what you'd like to change. That type of thing.

 

REGAN

What are you doing for dinner tomorrow night?

 

DANA

Ugh, tomorrow, uhm nothing.

 

REGAN

Why don't you come over to my place. I'll fix us dinner, you can take a look around and we can talk.

 

DANA

That's not necessary, I am going to be intruding on you enough through this process. I don't want to impose on you.

 

REGAN

It's no trouble, in fact I would really like it. We can both get to know each other a little better.

 

 

Sc. 5D

 

INT. REGAN'S HOUSE SAME DAY

 

(Henry and Dana are walking through the house looking at each room discussing the possibilities. Regan walks in the front door with an armload of lamps.)

 

REGAN

Hello. Dana I'm back.

(Dana walks into the room with Henry.)

 

DANA

Regan, I'd like to introduce you to my associate Henry Griffon.

 

HENRY

It's a pleasure to meet you Ms Mason, may I help you with that.

(Regan gladly hands over some of the lamps to Henry.)

 

REGAN

Gladly, it's a pleasure to meet you Henry, and please call me Regan.

 

 

HENRY

Great lamps.

 

REGAN

Thanks. I want to put them around the house, I can't stand overhead lighting.

 

HENRY

Amen.

 

DANA

Can we help you with anything?

 

REGAN

I do have a few more boxes in the car, if you don't mind. I swear Dana I really didn't hire you as a mover.

 

DANA

I like helping.

(Dana opens the front door as a delivery truck pulls up.)

There's a van pulling up. It's from Pogo.

 

REGAN

Yeah, my friend Chris owns the place, are you familiar with it?

 

HENRY

Are you kidding, I love that place.

 

 

REGAN

I stopped by there and picked up a few things,

(She holds up the lamps.)

Chris said she'd bring the rest over for me.

 

(Chris walks in the open front door. She is in her early forties, someone who always dresses comfortably and has a smile for everyone. She has the casualness of an artist and the air of a successful business owner.)

 

CHRIS

This is nice.

 

REGAN

Hi Chris, come on in. You have perfect timing.

 

CHRIS

Is that a good thing or bad?

 

REGAN

Excellent. Chris, this is Dana Thomas and Henry Griffon, they're doing the house for me.

(Chris walks over and shakes hands with Dana and Henry. She is impressed to meet Dana.)

 

CHRIS

Dana Thomas, I've heard of you. Several of my customers have been clients of yours. And Henry is in the store all the time.

 

DANA

It's a pleasure to finally meet you, I'm constantly buying pieces from your store, but we have never been there at the same time.

 

CHRIS

That's because I'm usually rescuing this one.

(She points a joking finger at Regan.)

 

REGAN

Speaking of which, if you'd help me unload my car, I wouldn't have to bother Dana and Henry and they can continue their work.

 

DANA

We're glad to help.

 

CHRIS

No, this is why I'm here.

(Chris laughs as she and Regan go out the front door and Dana and Henry exit to the kitchen, notebooks in hand.)

 

 

Sc. 6A

 

INT. DANA'S OFFICE DAY

 

(In Dana's office, she is working at her drawing table. Propped up on easels are foam core boards with pictures of each room in the Mason house. Amy enters with a package.)

 

AMY

This just arrived. Terry sent you some new wood samples.

 

DANA

Great. Thanks.

 

AMY

I'm taking orders for lunch, what would you like?

 

DANA

I'm not hungry.

 

AMY

Too bad. Salad?

 

DANA

With extra cheese.

(Henry walks in as Amy exits.)

 

HENRY

I just got back from the Bone Yard, and they have some beautiful Flagstone in.

 

DANA

You thinking for the gazebo?

 

HENRY

Exactly.

 

DANA

I've got some ideas, but I'll have a more definite plan after tonight.

 

HENRY

Why? What's tonight?

 

DANA

I'm having dinner at Regan's. And I plan on having a clear understanding of exactly what she wants, so we can get to work.

 

HENRY

I think you already have her pegged. She seems very elegant, yet down to earth. You would never know she was heir to a fortune.

 

DANA

You know it's not something that occurs to you when you are talking to her. She's very easy going and comfortable to be around, even if she's a bit….

 

HENRY

Private.

 

DANA

Mysterious. She always seems to leave you wondering just what she's thinking.

 

HENRY

Well, it's about time.

 

DANA

What.

 

HENRY

Your having fun.

 

DANA

I am? Yes, I guess I am. It's nice to be excited about a project. And I really like Regan, I am going to enjoy working with her.

 

HENRY

Good I think this is just the project you needed. Enjoy yourself, maybe make a new friend, God knows you could use a few more friends in your life. When it's all over you can take a nice vacation and come back all refreshed and ready to go.

 

DANA

We'll see.

 

HENRY

Dana, just trust me on this.

 

DANA

Henry.

 

HENRY

Yes dear.

 

DANA

Don't you have some work to do?

 

HENRY

Yes dear.

 

DANA

Good - Bye.

 

HENRY

Yes Dear.

 

 

Sc. 6B

 

INT. REGAN'S CONDO SAME NIGHT

 

(Dana, still wearing the same clothes she had on at work, walks up to the door of a very expensive condominium. She is carrying a bottle of wine and her briefcase. She takes a brief look around and rings the bell. Regan opens the door, she is dressed comfortably in jeans and a man's Armani shirt. Her easy going smile and comfortable manner at first make Dana want to feel even more rigid and uptight, but Regan welcomes her in and she begins to feel comfortable.)

 

REGAN

Dana, come in. You're right on time as usual.

(The inside of the condo is elegantly decorated, simple and very comfortable. Dana walks into the living room.)

 

DANA

I brought a bottle of wine, I hope it goes with whatever you're making.

 

REGAN

Thanks, that's great, it'll be just fine. I see you also brought your briefcase. Don't you ever take a break?

 

DANA

Well, technically this is a business call.

 

REGAN

Yes, but only technically. I bet you came straight from the office.

(Dana looks a little embarrassed at her own boring life.)

 

DANA

Actually I did. Just finishing up some details on another job.

 

REGAN

You mean I don't have your undivided attention.

 

DANA

Oh no, it's a project Henry's handling. I just lend my signature to all the paper work. No, I'm all yours for the entire project.

 

REGAN

Good. Because I could demand an awful lot from you.

(Regan pauses and gives Dana a look to say 'you have no idea what you have gotten into.)

Why don't we get the business end of this out of the way so we can enjoy a relaxing dinner. Leave the briefcase and follow me.

 

DANA

You have this thing about me taking notes don't you.

 

REGAN

First impressions should not be put on paper, they should be digested and put into perspective. This side is my office and guest room, back there is the kitchen and dining room, and that side is the master bedroom and bath. Why don't we start with my office, it's where I spend most of my time.

(They walk off in the direction of Regan's office.)

 

 

Sc. 6C

 

INT. REGAN'S CONDO - KITCHEN SAME NIGHT

 

(In the kitchen. Regan is checking the covered pots on the stove. Dana has been given the task of opening the wine.)

 

REGAN

Do you like Mediterranean food?

 

DANA

I'm not sure.

 

REGAN

Well, let's have dinner and find out.

 

DANA

Glasses?

(Regan reaches into a cabinet and hands Dana two wine glasses.)

 

REGAN

Here.

(Dana pours the wine and takes the glasses and bottle into the dinning room while Regan prepares the plates of food. All this takes place during the next bits of dialogue.)

 

DANA

I think we can open your office up a lot in the new house. Give you lots of bookcases with built in file drawers in the bottom. Maybe knock out that bay window and put in French doors to open out onto the patio. Make it very light and airy.

 

REGAN

That would be great. I use it as my main office and I'd love not to feel so enclosed.

(She stops and smiles really big at Dana.)

 

DANA

What?

 

REGAN

I knew you would have the right answers.

 

DANA

The office needs an extensive work over, but furniture wise, I can't see getting rid of anything. simply adding to and reworking some of what you have going on here. We can bring a lot more natural surfaces into the house.

 

REGAN

Right answer again.

 

DANA

You have some terrific furniture. I love your bed.

 

REGAN

Thanks, I had one of Chris's artists make it for me.

 

 

DANA

And your artwork?

 

REGAN

I started collecting it when I started traveling so much. I have accumulated so much that half of it's in storage. Come on sit down and relax, you're off the clock now.

 

DANA

I am never off the clock when I'm with a client.

 

REGAN

Well you are now.

(They both have entered the dinning room. A pine plank table that seats six has two place settings at one end. They sit and Regan raises her glass to make a toast.)

 

REGAN

Here's to a creative partnership.

(Dana raises her glass.)

 

DANA

And new spaces.

(They drink a toast and begin to eat. Dana takes a couple of bites and really enjoys it.)

 

DANA

This is great! You are a fantastic cook.

 

REGAN

Thanks, it's a hobby.

 

DANA

You have a very unique style here. Every room has it's own character and they're all very different. I like it.

 

REGAN

It's less boring that way.

 

DANA

I am not sure you need me at all.

 

REGAN

Of course I do. This is a huge project and I don't have the time to do it myself even if I could do it myself. I want a fresh perspective of the things I like. You know how to make everything work together. I can pick out furniture but not fixtures and paint or all the little things that go into making a great house. That's what you do best. You can come up with ideas that I never would.

 

DANA

How do you know I can give you what you want?

 

REGAN

I told you I did some research on you before I met you. I know a lot of Chris's clients and have seen some of the houses and businesses you did for them. You're the one.

 

 

Sc. 6D

 

INT. REGAN'S CONDO - LIVING ROOM SAME NIGHT

 

(Regan and Dana are sitting on the sofa in the living room drinking wine and talking. Soft music is playing in the background.)

 

REGAN

So which do you prefer?

 

DANA

Between?

 

REGAN

Being an architect or a decorator.

 

DANA

I've never been able to choose, that's why I combined them.

 

REGAN

Which came first the architect or the decorator?

 

 

DANA

Ah, the old chicken or the egg conundrum. I was in my second year of architecture when I decided to also study interior design and decorating. They've always gone together for me.

 

REGAN

Is this something you always wanted to do?

 

DANA

Oddly yes.

 

REGAN

Why oddly?

 

DANA

You were a journalist major weren't you?

 

REGAN

I'm sorry, I can ask too many questions, does it bother you?

 

DANA

It doesn't bother me. My father's an architect. And while I never would have dreamed of following in his footsteps, I somehow did.

 

REGAN

He must be very proud of you.

 

DANA

I wouldn't be too sure of that, we don't talk very often.

 

REGAN

Does he live here?

 

DANA

No, he lives in Boston . We've never been very close. My mother died when I was fourteen and we just drifted further apart.

 

REGAN

My mother died when I was in high school, but it seemed to bring my father and I closer together.

 

DANA

Is that why you went into publishing?

 

REGAN

I'm not sure I ever realized I had a choice. The company was always like an extended part of our family. Besides I knew when I got out of college I'd have a job, my Dad owns the company.

 

DANA

Do you like it?

 

REGAN

I love it. I love it all, the magazines, the books, the travel, the people. And when I get bored I have my own little side projects.

 

DANA

Like Pogo.

(Regan stares quizzically for a moment.)

REGAN

Now how did you know I'm involved with Pogo?

 

DANA

There are a bunch of pictures behind the counter, one is of you and Chris holding up a dollar bill. I only remembered it when I saw the two of you together. I thought you might have something to do with the store.

 

REGAN

How can you remember that picture out of all the ones hanging there.

 

DANA

I have an eye for detail, remember?

(Regan smiles and pours some more wine for them both. She is liking Dana more and more.)

 

REGAN

I'm a silent partner. Not many people know. It's really Chris's store. We were contemplating coupledom. She had this idea for a store for a long time, it sounded good to me and Chris has a real eye for talent and beautiful things. So we became business partners instead and it's worked out beautifully ever since.

(Dana has a brief second of realization about what Regan has just said and quickly covers it with a smile. She had no idea Regan was gay.)

 

DANA

Does this mean that I have to buy all your new furnishings at Pogo?

 

REGAN

I do get a good discount.

(Dana glances at her watch out of habit and realizes how late it has gotten.)

 

 

DANA

It's getting late. I really have to go. I'll put together some ideas tomorrow, when would you like to meet again?

 

REGAN

I am going to be out of town for the next few days. Why don't I call you when I get back? And we can meet out at the house or if it's easier for me to come to your office?

 

DANA

The house is fine.

 

REGAN

The installation of the solar panels should be completed by then. You can do whatever you have to do.

 

DANA

As soon as we have your approval I'll have workers in there.

 

REGAN

Thanks Dana I know this is going to be great.

 

DANA

Thanks for dinner, it was wonderful.

(They walk to the front door and Regan waves good-bye as Dana leaves.)

 

REGAN

Good night.

 

 

Sc. 7A

 

INT. DANA'S OFFICE DAY

 

(Dana's office, she and Amy and Henry are having their morning tea and going over their calendars.)

 

HENRY

So how did it go last night?

 

DANA

Great. I think I have a lock on this now.

 

HENRY

You always do.

 

 

DANA

Did you know that Regan is part owner of Pogo?

 

HENRY

I knew I liked her.

 

AMY

I love that place.

 

HENRY

So any other surprises?

(Dana pauses a moment and smiles. She enjoys knowing something Henry doesn't.)

 

DANA

No.

 

HENRY

In that case I am on my way to look at fountains.

 

DANA

Hen, I'm going to need your help tomorrow. I want to have samples for as much of the house as possible when Regan gets back.

 

HENRY

Just give me a list and I'll get it all together.

 

DANA

Amy, I need to know everyone's schedule, I'd like to have an idea by the end of the day, tomorrow at the latest. And ask Jeff if he knows of someone available for stonework. I wasn't satisfied with that last guy.

 

AMY

I'm on it.

(Amy leaves the room.)

 

HENRY

This is great, you're looking better.

 

DANA

I feel better. This is going to be fun.

 

HENRY

I knew the right project would be just the thing for you. Now we just have to work on the rest of your life.

 

 

DANA

There's nothing wrong with the rest of my life.

 

HENRY

Not if you live in a convent.

 

DANA

I thought you were going to look at fountains.

 

HENRY

I just want to see you completely happy.

 

DANA

I will be if you find me the right fountain for the pond that's going into Regan's yard.

(Henry stands there staring at Dana with a "you are not going to get away with this that easy" look. she shoo's him away with her hand.)

 

HENRY

Okay, I'm going, but I will return.

 

DANA

With photo's, lots of photo's!

 

 

Sc. 7B

 

EXT. REGAN'S HOUSE SAME DAY

 

(At Regan's house later that day, Dana is walking a landscaper around and showing him where the fountain and pond are going. Henry walks in the yard with a handful of pictures, he hands them to Dana. She looks through them, picks three and holds them up in the area it will go, then hands one to the landscaper along with a drawing of the water treatment. She and Henry go into the office and the landscaper goes into the yard taking notes and walking off areas. This scene has a light airy music over it with barely audible vocals of the conversations taking place, which is improved by the cast.)

 

 

Sc. 7C

 

INT. REGAN'S HOUSE - OFFICE SAME DAY

 

(Dana and Henry are moving around the house and talking quickly.)

 

DANA

I want to make this as light and open as possible. Knock out this window and have French doors leading out onto the patio.

 

HENRY

With a water treatment just there.

(Henry points out to the patio.)

 

DANA

Right. The other walls will have built in bookcases with file drawers in the bottom, I want to find a credenza for behind the desk to hold some of her office equipment, TV in a cabinet in the wall with remote control doors, we'll hook it to a DVD behind the desk.

 

HENRY

I like that.

 

DANA

A layout table here and French doors leading out to the living room.

(They move down the hall to the guest room)

This room is large enough to have big full drapes floor to ceiling, the other quest room is smaller and will need a more delicate touch.

(She opens the door to the guest bathroom, they both look in and grimace, Henry closes the door quickly and walks away in exaggerated disgust, Dana laughs and follows him.)

 

 

Sc. 8A

 

INT. REGAN'S HOUSE - OFFICE DAY

 

(Dana, Regan and the contractor are in the office of Regan's house. They are going over blue prints Dana has drawn up. It is very important that Regan be a part of the lay out of the office. A blueprint is open on the folding table that has been brought in from the kitchen.)

 

DANA

This window's going to be replaced with a set of French doors looking out onto the patio. And this wall will be all bookshelf/filing cabinet units alternating with large windows.

 

JEFF

Tying in all the wood framework with the cabinetry and desk.

 

DANA

Exactly. These are the pictures of the existing furniture and I can get you a piece over here by the time you're ready to stain. I don't want it to get to dark in here so I want to open these windows out and build around them, keep it open over the window and the file drawer will also act as a window seat.

 

REGAN

I would like it if my desk faced the patio.

 

DANA

I've already got that along with a unit behind you for all your office equipment. The only items on your desk will be a monitor, keyboard and phone.

 

JEFF

What's this unit?

(Jeff points to something on the blueprint.)

 

DANA

A unit for periodicals so everything can be catalogued. I want two walls with a complete set of lines in it. Cable, phone, internet, the works. I need three phone lines and also individual circuits for the equipment, so multiple outlets on this wall.

 

REGAN

Where will my layout table go?

 

DANA

I was thinking this area over here with light cans right above it.

 

REGAN

That's great.

 

DANA

Now where do you want the flat screen?

 

REGAN

Some place where I can work at my desk while watching.

That corner would be good.

 

DANA

Then Jeff, this cubby needs to be mounted over the periodical stacks.

 

JEFF

No problem. Do you have a break down of each piece?

(Dana pulls out from under the blueprint, separate blueprints of each piece of furniture to be built, she hands them to Jeff.)

 

DANA

Right down to the hardware.

(Jeff looks at Regan with a grin.)

 

JEFF

As if I had to ask.

(He looks back to Dana.)

You're one step ahead of me as always. I'll get this back to the shop and we'll get started on the casements there.

 

REGAN

How long before you start putting it in?

 

JEFF

I'll have someone out here tomorrow to start the electrical. As soon as he is finished, about two days, we'll come in and start with the doors. The installation of the bookcases won't happen for a couple of weeks.

 

DANA

Thanks Jeff, the room is all yours. I'm having the carpet removed day after tomorrow so it'll be ready for you. Regan are you happy with the layout?

 

REGAN

It seems great to me, I'm really going to leave it in you hands. As long as I can see out when I work I'll be happy.

 

DANA

Jeff you want to go through the kitchen and bathrooms with me? I also want to show you the master closet; I have some ideas and I'd like to see what you think of.

 

REGAN

I am off to a meeting. Thanks, I think it is going to be perfect.

 

DANA

Thanks for coming by, see you later.

 

JEFF

Bye.

(Regan leaves, Dana and Jeff pick up the stack of blueprints and head for the kitchen.)

 

 

 

Sc. 9A

 

INT. REGAN'S HOUSE DAY

 

(One week later the house is under construction. We see landscaping going on in the yard, construction of the doors in the office, new counter tops going in the kitchen, the guest bathroom is under total reconstruction and an organizing unit is going into the master bedroom closet.)

 

(Dana's clothes have changed from her casual buisnesswear to jeans and a simple blouse; she has several paint chip books with her and is going around each room finalizing the colors.)

 

(Regan walks in and has a look around at everything that is happening then finds Dana in the dining room.)

 

REGAN

It's a mess in here. How are you able to think with all this noise?

 

DANA

I just pretend its music.

 

REGAN

I thought I heard music in the kitchen, but wasn't sure.

 

DANA

That would be Cass, she's into Aboriginal music right now. Every job she has a new musical interest.

 

REGAN

I think it would sound better without the drilling and sawing.

 

DANA

Maybe that's why she never sticks with one style, she never really hears it.

 

REGAN

So how is it going?

 

DANA

We're moving right along. I know it's a mess right now, but don't worry; I promise it'll all turn out fine. I was just picking the colors for the walls. Do you want to walk through and see?

 

REGAN

I don't have much time. I'm on my way to the airport. Maybe just the bedroom and living room.

(They walk into the master bedroom.)

 

DANA

Where are you off to this time?

 

REGAN

London , I'm going to look at this photographers work and see if he wants to do a piece for us.

 

DANA

Here's the color I want to do on the walls with a soft glaze on it, it'll warm the room up. And these will be the accent colors.

 

REGAN

I like it. Really Dana, I trust you totally. I think you have a handle on what I like and don't like and I trust your decisions.

(Regan checks her watch.)

I have got to run. If you need me you know my number. I'll be in London for three days then Paris for two days, then Amsterdam for three days. I'm sorry I have to run off like this.

 

DANA

Don't worry, when you get back I promise it will start to look like a house.

REGAN

You can give me all the details when I get back.

Don't work too hard.

 

DANA

I could say the same to you.

(They have walked to the front door.)

 

REGAN

See you in a week.

 

DANA

Have fun.

 

 

 

Sc. 9B

 

EXT. REGAN'S HOUSE - PATIO SAME DAY

 

(On the patio of Regan's house we see the landscaper quietly laughing at Henry on the phone with the company they ordered the fountain from.)

 

HENRY

I understand shipping. I understand back order. You do not seem to understand that when I ordered this fountain you said it was in stock and would be delivered in two days, and I am standing here a week later with no fountain. Understand this, I have a deadline on this job and if that fountain is not here in two days I am going to stick you in this pond and make water come out of your mouth. Now do you understand?

(There is a pause as Henry listens to an apologetic store manager without sympathy.)

 

HENRY

Yes, there is cause for me to be upset. I am paying a man to sit here and watch me have an aneurysm on the phone with you instead of installing my fountain.

(There is another pause as he listens impatiently.)

 

HENRY

I am going to hold you to that and if it's not here by then, I am coming after you.

(Henry hangs up his cell phone exasperated.)

 

Two weeks is the best they can do. So just move this to the end of your list.

(The landscaper is still laughing at Henry.)

 

LANDSCAPER

I already have.

 

HENRY

Oh, just go plant something.

 

 

Sc. 9C

 

INT. DANA'S OFFICE SAME DAY

 

(In the office Dana is on the phone with her draper.)

 

DANA

The swatches are on their way to you as we speak. I have the measurements here in front of me and I'm also going to fax the sketches.

(Dana's cell phone rings.)

Could you hold a moment.

(She answers the cell phone.)

Hello.

 

HENRY (V.O.)

I just spoke to the fountain people.

 

DANA

How bad?

 

HENRY (V.O.)

Two weeks.

 

DANA

So it's still doable.

 

HENRY (V.O.)

Yes, Ryan is going to make it his last project.

 

 

DANA

I had wanted it in by the time she got back but I guess there has to be a few snags. Are you on your way back here?

 

HENRY (V.O.)

Just as soon as I can get Ryan to stop laughing at me.

 

DANA

Would you be a love and pick up something wickedly sweet.

 

HENRY (V.O.)

Anything special in mind?

 

DANA

Surprise me.

 

HENRY (V.O.)

See you in a bit.

(Dana hangs up the cell and goes back to her desk phone.)

 

DANA

Sorry about that. What was I talking about?

Oh yes, everything should be pretty well spelled out, but if you have any questions call. I'm sending them as soon as we hang up.

Okay thanks.

(She hangs up the phone and walks out to Amy's desk.)

Amy could you send these to Rachel for me and include the specks of all the windows at Regan's.

 

AMY

Sure, she need these right away?

 

DANA

She's waiting for them.

(She walks back into her office and begins paperwork.)

 

 

Sc. 10A

 

INT. RUG STORE DAY

 

(Dana is in a rug store looking through various styles. She is talking on her cell phone to Regan and although it is a business call she enjoys talking to this woman.)

 

DANA

I thought we could use your big African rug in the office, the colors will go perfectly. I'm just trying to find something for the dining room. Are you more incline to floral or geometric?

 

REGAN (V.O.)

Geometric. I kind of like the idea of the kitchen and dining room being a little more modern than the rest of the house.

 

DANA

It works with the whole international theme.

 

REGAN (V.O.)

How are things going back there?

 

DANA

We're going to be a little delayed on the fountain, but it'll be in by completion date.

 

REGAN (V.O.)

I have great Italian dinners planned for out there.

 

DANA

With your cooking and the new Tuscan patio it should be very authentic.

 

REGAN (V.O.)

Speaking of Italian, that's why I called, I have to go to Venice for a couple of days so I'll be a few days late.

 

DANA

I like your job, when unexpected things pop up in my work it's a delayed fountain, with you it's a side trip to Venice .

 

REGAN (V.O.)

It only sounds fun because you don't actually have to do all the traveling.

 

DANA

You will be looking at canals and I will be looking at garden plumbing. I don't think there's a comparison.

 

REGAN (V.O.)

Your right, I will have to make it up to you and bring something fabulous back.

 

DANA

No, I didn't mean for you to do that. I was just saying your scenery is a little better than mine.

 

REGAN (V.O.)

I tell you what on my next trip I'm going to drag you along and let you see for yourself.

 

DANA

Be careful, I just might take you up on it.

 

REGAN (V.O.)

I have to go, but I'll call you form Venice .

 

DANA

Okay, take care.

(Dana goes back to picking out a rug.)

 

 

Sc. 11A

 

INT. REGAN'S HOUSE - KITCHEN DAY

 

(Dana and Henry are in the kitchen. Cass is installing tile and Dana is measuring cabinet and drawer fronts. Henry is showing Dana pictures of butcher-block islands and hanging pot racks and wine racks.)

 

HENRY

I like this one. There's lots of working space.

 

DANA

It's solid.

 

HENRY

Big.

 

DANA

No. I want something with storage as well.

(Henry shuffles through the pictures.)

 

HENRY

How's this one?

 

DANA

That's better.

 

HENRY

Here's another one.

 

DANA

No, the other one.

(Henry lays out all the pictures on the table.)

 

HENRY

So, what are you up for tonight? Taylor and I were thinking Mexican.

 

DANA

Not that place we went to last month, I was so sick afterwards.

 

HENRY

What about Ethiopian?

 

DANA

How about Italian?

 

HENRY

The little place on Market?

 

DANA

Defiantly. We need to call Taylor .

 

HENRY

When, have you ever known Taylor to refuse any type of food.

 

DANA

You are so caddie sometimes. Pick up the phone and call him, I will not be a party to your bulling.

 

HENRY

He'll be fine with it.

 

DANA

Call him!

 

HENRY

Okay, okay, you big bully!

 

 

Sc. 11B

 

INT. RESTAURANT SAME NIGHT

 

(Dana, Henry, and Taylor are at a quaint Italian restaurant eating dinner.)

 

TAYLOR

Henry tells me you have been bulling him at work.

 

DANA

I never bully anyone.

 

TAYLOR

I didn't think so; you're too sweet for that, unlike him.

 

HENRY

Excuse me, I sitting right here and do not appreciate being ganged up on. Besides, she is lying.

 

TAYLOR

So sweetie, how's the job going for you?

 

DANA

Really good, I'm having a great time and Regan is so easy to work for. I thought she would be demanding, but I almost have to force her to inject an opinion.

 

HENRY

There she goes bulling again.

 

TAYLOR

Ignore him. Tell me about Ms Mason.

 

DANA

She's been great.

 

TAYLOR

No, I mean scoop. I've been very curious about her since you got the job.

 

DANA

I'm sure Henry has told you everything.

 

TAYLOR

Only that you spend most of your time with her.

 

DANA

As usual he has given in to exaggeration.

 

HENRY

Oh, please. You spend more time over at that house then you do at your own.

 

DANA

That's because it's my job. She's not there most of the time, in fact hardly ever.

(Dana seems a little disappointed at this thought.)

 

TAYLOR

Oh, you must have found out something. For a huge media executive she's a very private person.

DANA

Then don't you think we should respect that privacy?

 

HENRY

She's part owner of Pogo.

 

TAYLOR

You didn't tell me that.

 

HENRY

I can have scruples too.

 

DANA

Yes, but you are slowly loosing that tenuous hold on them.

 

HENRY

She means change the subject.

 

TAYLOR

Well, there's someone at work that I think you would really like.

 

DANA

Next subject.

 

HENRY

Oh, come on Dana, one little date wouldn't kill you.

 

DANA

But it could kill you. Next subject.

 

TAYLOR

Sweetie you really need to get out there and meet people.

 

DANA

I meet people everyday at work, and I'm not that impressed by them so if you would please not try and play cupid.

 

TAYLOR

Okay, but if you change your mind. I have compiled a whole list.

 

DANA

Why do I agree to go out with you guys, it's always the same thing.

 

 

 

 

HENRY

So have you given any thought to where you're going on your vacation?

 

DANA

What vacation?

 

HENRY

The one you promised to take as soon as this job is done.

 

DANA

I did no such thing.

 

TAYLOR

That's a great idea! Some time away from him is just what you need.

 

DANA

Well, when you put it like that.

 

HENRY

Why do I bother going out with you people.

 

 

Sc. 12A

 

INT. REGAN'S HOUSE - MASTER BATHROOM DAY

 

(Dana and Regan are in the master bathroom looking at tiles that Regan brought back from Italy . Regan brought them just to see Dana's reaction and to make her smile.)

 

REGAN

Since you wouldn't let me bring you something back from Italy , I thought this would be the next best thing. When you pick it out I'll call the shop in Venice and order it. They were so nice to me and are ready to ship right away.

 

DANA

These are all beautiful. You must have a preference.

 

REGAN

I did and these are samples of them.

 

DANA

In that case let's use this in the shower and this one for the floor, do you know if they can do it in an eighteen by eighteen?

 

REGAN

I'm sure they have whatever size you want.

 

DANA

This one will go great as an accent.

 

REGAN

Put together a list of exactly how much you need of each and I'll place the order.

 

DANA

Did they give you an idea of how long it would take to get here.

 

REGAN

They can have it shipped in a week.

 

DANA

Okay, just let me figure this out.

 

REGAN

How about a pizza for lunch? I'll order one.

 

DANA

That sounds great.

 

REGAN

Meet me in the gazebo when you're done.

 

(Regan leaves pulling out her cell phone and hitting speed dial. We can hear her ordering a pizza as she walks down the hall. Dana pulls out her tape measure and begins to calculate the number of tiles needed for the job.)

 

 

Sc. 12B

 

EXT. REGAN'S HOUSE GAZEBO SAME DAY

 

(Dana joins Regan in the gazebo where there is a pitcher of lemonade waiting. Just as she sits down the pizza delivery girl enters through the gate. Regan waves to the girl. The flirting between Dana and Regan notches up a bit.)

 

 

REGAN

Over here.

 

DANA

That was fast.

 

 

REGAN

Not really, you've been in there a while.

 

DANA

Have I, I'm sorry. I have a tendency to loose track of time.

(Regan pulls out some money from her pocket and hands it to the girl and takes the pizza.)

 

REGAN

Thanks. I hope you didn't have any trouble finding it.

 

GIRL

No. We deliver to the workers here all the time.

(The girl leaves.)

 

REGAN

I guess pizza wasn't such an original idea.

 

DANA

The carpenters order it a lot, but I love pizza and never get to eat it as much as I'd like.

 

REGAN

I think you're just being kind, but dig in.

 

DANA

It's the truth, if I'm working really intently, I'll forget about food until my stomach starts' trying to gnaw it's way out.

 

REGAN

Then I'll have to keep an eye on you. We can't have you passing out from hunger.

 

DANA

I'm not that bad. Henry will have a donut for lunch, which to me is even worse.

 

REGAN

You don't like donuts?

 

DANA

I love donuts, just not for lunch.

 

REGAN

Breakfast only?

 

DANA

Midnight snack.

 

REGAN

And you call Henry bad!

(They laugh and Dana makes a sheepish duck behind her slice of pizza.)

 

DANA

So with all the travel you do, what do you do for vacation?

 

REGAN

Either stay at home with the phone turned off or find a nice secluded cabin up in the mountains somewhere and just spend time alone with nature or friends. I love the mountains.

 

DANA

That sounds wonderful.

 

REGAN

What about you, what's your favorite vacation?

 

DANA

To be honest I don't know. It's been a few years since I've taken any time off and the last vacation I took was to see my Father, so it wasn't much of a vacation.

 

REGAN

Family stress?

 

DANA

Isn't that the way it's suppose to be. Anyway, I'm not big on vacations.

 

REGAN

Let me guess you are a workaholic with no time for friends or vacations.

 

DANA

That's not entirely true. I have great friends. In fact they are hassling me to take a vacation.

 

REGAN

Listen to your friends. Everybody needs to get away once in a while.

 

DANA

Henry is threatening to strike if I don't take a week off after this job.

 

REGAN

Then we will have to come up with the perfect vacation for you. I can give you the name of some great cabins if you want isolation. Or if you are looking to be with people, there are some fun places in the Caribbean .

 

DANA

I think right now I just want to concentrate on getting your house ready.

 

REGAN

I think I'm going to have to side with Henry on this one.

 

DANA

Great, just what I need, one more person pressuring me to leave town.

 

REGAN

You don't have to leave town, just take some time for yourself. I have a feeling that's something you don't do often enough.

(Regan pauses and gives Dana a sly grin.)

I know a nice little place in Venice .

(Dana smiles and bites into her pizza.)

 

 

Sc. 12C

 

INT. REGAN'S CONDO - DINING ROOM SAME NIGHT

 

(Regan and Chris are having dinner at Regan's Condo. Chris is Regan's best friend and she can relax and tell her anything.)

 

CHRIS

So, how was the trip to ..... Where did you go?

 

REGAN

Which day? London , Paris , Amsterdam and then Venice .

 

CHRIS

Have a good time?

 

REGAN

It was okay. I was running from meeting to meeting most of the time.

 

CHRIS

Didn't meet anyone to have fun with?

 

REGAN

No. I wasn't looking.

 

CHRIS

You seem rather hesitant, what's going on?

 

 

REGAN

I'm not sure.

 

CHRIS

Is the house coming along okay? Are you happy with it?

 

REGAN

The house is great. I love it. In fact I don't want it to be finished.

 

CHRIS

That makes no sense.

 

REGAN

I may have allowed myself to become attracted to someone working on the house.

 

CHRIS

Does this someone have a name or are we going to play the pronoun game.

 

REGAN

It's Dana.

 

CHRIS

She's cute.

 

REGAN

And smart and talented and fun and I am in trouble.

 

CHRIS

Have you said anything to her?

 

REGAN

No. I don't even know if she's gay. There are moments, but then they are so quick I think I'm projecting what I want.

 

CHRIS

Why don't you just talk to her?

 

REGAN

It's a rather touchy situation. I don't want to make her uncomfortable.

 

CHRIS

You'll never know unless you ask.

 

REGAN

I just need some time.

 

CHRIS

I don't think I've ever seen you so reluctant.

 

REGAN

I'm not reluctant.

 

CHRIS

So what is this, shy?

 

REGAN

I just don't want to make any mistakes.

 

CHRIS

Oh.

 

REGAN

What?

 

CHRIS

You're serious about her.

 

REGAN

I can't be serious about someone I am not involved with.

 

CHRIS

You're getting there. Just watch out little one. I hate to see you get hurt. And if she's straight, they can hurt more than any others.

 

REGAN

I know.

 

 

Sc. 13A

 

INT. RESTAURANT DAY

 

(It's a Sunday morning and Dana is having an early breakfast at Cantina's her favorite weekend place. She has Sunday breakfast here so much all the staff knows her. But she always has the same waitress. Dana rides her bike to the restaurant and then goes for a ride and hike in the hills. We see her locking her bike up and entering the restaurant. By the time she reaches her table her waitress brings her a cup of Earl Gray tea.)

 

DANA

Thanks Bonnie.

 

 

BONNIE

How are you doing today Dana?

 

DANA

Not bad. I could have used a few more hours in the week.

 

BONNIE

You are the only person I know who complains that there isn't enough time during the workweek. Most of us want more weekend time.

 

DANA

How's your daughter doing in math this week?

 

BONNIE

I don't think she has that kind of mind. Some people are good with numbers and some are good at creating things. She's good at art.

 

DANA

Some people do both. You should bring her in here one morning and let me talk to her. I create all day and math is very much a part of everything I do, so that's no excuse.

 

BONNIE

I'll tell her, but you'll never see her in here this early. Sunday's, it has to be in the double digits before she gets up. So, what cha going to have today?

 

DANA

I think I want some fruit crepes.

 

BONNIE

Bad week?

 

DANA

Now why would you say that?

 

BONNIE

You always have fruit crepes when you've had a bad week.

 

DANA

No, do I. I don't think it was a bad week, although something is out of kilter.

 

BONNIE

I'll bring them right out, don't worry, it always gets better.

(Bonnie walks off to the kitchen while Dana tries not to think about what is off in her world.)

 

 

Sc. 14A

 

INT. DANA'S OFFICE DAY

 

(Dana's office, she and Amy are trying to catch up on paper work and Amy is trying to organize Dana's calendar to no avail.)

 

AMY

I don't know how I'm going to fix this. You have huge gaps of time that have no meaning.

 

DANA

I'm leaving those open for Regan as possible meeting times. Her schedule is so erratic that it's just easier if my time is free.

 

AMY

When you're done with those I have another stack on my desk that need your approval.

 

DANA

How do we accumulate so much paper work?

 

AMY

Well, usually you're in here at least once a day and I can slip it to you a little at a time, but you are never in the office anymore.

 

DANA

I'm sorry this project has just consumed a lot of my thought and time.

AMY

It wouldn't be so bad if you were out goofing off, but all you ever do is work on that house.

 

DANA

It's the only project I have right now. I thought you guys wanted me to cut back a little.

 

AMY

You are working as hard as you ever have only now it's just focused on one client. I never get to see you anymore.

(Dana gets up and goes over and gives Amy a hug.)

 

DANA

I'm sorry Amy. I've been neglecting my family at work. I know I get too caught up in it all, but I'm having fun.

 

AMY

I suppose if you can't play hooky then having fun is the next best thing. But you are going to take a vacation after this job is done, right?

 

DANA

Not you too Amy!

 

 

Sc. 14B

 

INT. OFFICE AT MASON PUBLICATIONS SAME DAY

 

(Regan is in her office working with a coworker on a layout.)

 

REGAN

I like this, but this side doesn't work at all. Try Devon 's piece with a gray matte title page.

 

DAVID

Devon is reworking his piece again.

 

REGAN

Get him on the phone, tell him I want that copy on my desk in twenty minutes or it doesn't make the issue.

 

(David goes to the phone and calls Devon . Regan picks up her cell phone and hits speed dial. She calls Dana, there is no answer, she hangs up and hits speed dial again, this time calling Dana's office.)

 

REGAN

Hi, Amy?

It's Regan, is Dana there?

Oh, no

No, no I don't need Henry; I just wanted to ask Dana something.

I tried her cell.

Must be, I'll try her later. Thanks.

 

(She hangs up and notices that David is having trouble convincing Devon to turn in his article on time. She walks over and takes the phone from David.)

Devon , this is Regan, you have five minutes to get that copy on my desk or your fired.

(She slams the phone down.)

 

DAVID

He's going to sulk.

 

REGAN

So what else is new?

 

 

Sc. 14C

 

INT. DANA'S OFFICE DAY

 

(Dana is sitting at her desk staring at the phone, she is uncomfortable and frowning she finally picks it up and dials.)

 

DANA

Hello, Father. It's Dana.

 

MR. THOMAS (V.O.)

Dana. Can I help you with something?

 

DANA

I was just calling to see how you were doing.

 

MR. THOMAS (V.O.)

I'm fine Dana. Is that the only reason you called?

 

DANA

Yes Father. We haven't spoken in a while...

 

MR. THOMAS (V.O.)

Dana I am very busy, I really wish you would not call me at work. Is that all?

 

DANA

Yes sir.

 

MR. THOMAS (V.O.)

Right.

(He hangs up the phone and the line goes dead.)

 

DANA

It's just that...Father?...hello?

(She hangs up with a look of disappointment.)

 

 

Sc. 15A

 

INT. HENRY'S HOUSE - KITCHEN NIGHT

 

(Taylor and Henry's kitchen, they are cooking dinner.)

 

TAYLOR

I think we should just kidnap her.

 

HENRY

She doesn't respond well to force.

 

TAYLOR

I've noticed. I think maybe we pushed a little too hard about the vacation thing.

 

HENRY

She's been distracted lately.

 

TAYLOR

I hadn't noticed.

 

HENRY

It's something you have to be around everyday to see. It's very subtle.

 

TAYLOR

What do you think it is?

 

HENRY

I don't know, but she's just getting worse. She never stops working. We just have to get her out for a wild night and hope she can relax a little.

 

TAYLOR

This weekend then, and no is simply not an option.

 

HENRY

I don't know.

 

TAYLOR

She will go if I ask.

 

HENRY

You better insist.

 

 

Sc. 16A

 

INT. REGAN'S HOUSE - KITCHEN DAY

 

(Dana, Regan and Henry are in the kitchen. Henry is sorting a delivery of glass cabinet doors and steel plate drawer fronts. Regan is filling her new refrigerator with supplies. Dana is sorting thru custom made pulls and handles. Regan occasionally leans into Dana to see what she is doing. Henry notices there is something in the air between them. The electricity between the two is becoming obvious to others as they openly flirt without realizing it.)

 

REGAN

Where did you find these?

 

DANA

There's this old guy outside the city who does folk art. I told him I wanted something special for a kitchen and this is what he came up with.

 

REGAN

They're great. I'd love to see some of his other work.

 

DANA

I'll take you sometime. The work is all over his property. He does everything from small stuff like this to paintings and huge yard sculptures.

 

HENRY

I have some of his paintings in my place.

 

DANA

I think we all have something of his.

 

REGAN

Then we have to take a field trip. How about next week?

 

DANA

Just name the day.

 

REGAN

So, how do you find these people?

 

DANA

Same way Chris finds her artists, word of mouth, see a piece somewhere, other artists who don't have what your looking for but know someone who might. It's like a big treasure hunt.

 

REGAN

The same goes for writers and photographers.

 

DANA

Do you ever do any writing or photography?

 

REGAN

I use to do a lot, now most of my writing is editorial. And I haven't had a chance to pick up a camera in ages.

 

 

DANA

The pictures in your hallway, are they yours?

 

REGAN

Yeah, those were taken a long time ago.

 

DANA

They're really good. You should do some more.

 

REGAN

I'd like to but I just don't have time.

 

DANA

You just have to make a little time for yourself.

 

REGAN

Touché.

 

HENRY

I don't take a bad picture myself.

 

DANA

He's right. He's a wiz with a point-n-shoot.

 

HENRY

It takes a talent that few possess.

(Dana and Regan laugh and Regan starts making them all tea and brings out a box of cookies.)

 

REGAN

I thought you could use a pick-me-up.

 

HENRY

Yes indeed. I love getting special treatment.

 

DANA

You're going to spoil us.

 

REGAN

As long as it keeps you coming back.

 

 

Sc. 16B

 

EXT. REGAN'S HOUSE - PATIO SAME DAY DUSK

 

(It is dusk and everyone has gone. Dana is checking the fountain, which has finally been put in and just turned on. Regan comes out to look at her new pond, which is visible from her office.)

 

REGAN

This is going to be a special place for me.

 

DANA

I was beginning to think it was never going to get here.

 

REGAN

Everything comes together if you just give it time.

 

DANA

I'm always running on a schedule. Amy sets it up for me every morning, so when things don't go according to plan it leaves me out of whack.

 

REGAN

You work very hard to create order in your life. But something tells me that you have great chaos about you.

 

DANA

Yes, but it is controlled chaos.

 

REGAN

What would happen if you just let it all go?

 

DANA

I don't like to think about that.

 

REGAN

How do you know that you're not missing out on something wonderful?

 

DANA

I'm sure I am, but some habits are hard to break.

(They stare at the fountain for a moment and then at each other.)

 

DANA

I have to go. I'll see you tomorrow.

(Dana quickly leaves and Regan goes back to looking at the fountain.)

 

 

Sc. 17A

 

EXT. BIKE TRAILS - TREE DAY

 

(Dana is riding her bike in the hills, she rides hard. She stops at her tree and climbs it, there she sits staring out thinking about what is happening to her and what she is feeling for Regan. She had convinced herself she would never have these feelings again, but somehow her heart is not listening.)

 

 

Sc. 18A

 

INT. REGAN'S HOUSE - GUEST BATHROOM NIGHT

 

(The remodeling of Regan's house is almost completed. Dana is at the house alone in the guest bathroom. All the offensive fixtures and wallpaper have been removed and replaced. The room is now a beautiful and peaceful space; Dana is working on a mosaic of her own design. She is just adding the last few tiles. It is two a.m. and she does not hear Regan come in.)

 

(The scene opens with Dana on a stepladder concentrating on her work. The room is scattered with drop cloths, buckets, trowels, tiles, etc and drawings. We watch her work for a moment then Regan quietly enters the bedroom and watches Dana from the door of the bathroom, she takes in the whole room and what Dana has done.)

 

REGAN

Dana?

(Startled, Dana almost falls off the ladder, but Regan quickly reaches out a hand to steady her.)

 

DANA

Whaa........

 

REGAN

I'm sorry, I didn't mean to scare you.

 

DANA

Just startled me that's all. I wasn't expecting anyone to be here. I didn't think you were coming back until tomorrow.

 

REGAN

I couldn't sleep.

(She lets go of Dana's arm.)

This is amazing. Did you do this whole thing?

 

DANA

I was having a hard time finding something to go in here so I decided to try something of my own. What do you think?

 

 

REGAN

This is great. I think your amazing.

 

DANA

I'm kind of pleased with the way it turned out.

 

REGAN

I haven't been in here for a while. The new fixtures look great. How long did it take you to do this?

(Regan indicates the tile.)

 

DANA

I started around noon, what time is it?

 

REGAN

It's after two.

 

DANA

Oh God - I didn't realize it was so late. Let me just clean this up and I'll get out of here. I'm sorry I didn't think you were going to be here tonight.

 

REGAN

You don't have to leave on my account, but you should probably take a break, are you close to finishing?

 

DANA

Only three more tiles, I can be out of here in ten minutes.

 

REGAN

Why not stay and join me for a glass of wine. I'd say you've earned it.

 

DANA

Well.

 

REGAN

Please.

(Dana looks at Regan for a moment, she really doesn't want to leave.)

 

DANA

Okay, just let me get cleaned up here.

 

REGAN

No rush, join me in the living room when you can.

(Dana watches Regan leave and then goes back to her tiles.)

 

 

 

 

 

Sc. 18B

 

 

INT. REGAN'S HOUSE LIVING ROOM SAME NIGHT

 

(In the living room in front of the fireplace (which has lit candles in it) Regan has laid out a bunch of pillows, a plate with cheese and crackers, two glasses and a bottle of wine. There are lit candles all over the mantle and hearth. This is the light source. Dana enters as Regan is putting a soft jazz CD in the boom box.)

 

DANA

Wow! You really know how to throw together a party.

 

REGAN

It's the best I could do with such limited resources. Besides it's two o'clock in the morning, anything harsher than candlelight is obscene.

 

DANA

Maybe we shouldn't give you furniture at all.

(Regan walks over to Dana and brushes a hand on the outside of Dana's arm. The intimacy of their situation cannot be ignored.)

 

REGAN

You look tired, come and sit down.

(Dana sits among a pile of pillows.)

 

DANA

That feels good. I didn't realize how late it was. My muscles will punish me for it tomorrow.

(Regan sits next to Dana and pours wine for them.)

 

REGAN

I thought you might be hungry.

(She offers the plate to Dana and Dana takes a cracker with cheese.)

 

DANA

You are always so thoughtful.

 

REGAN

I work the party circuit for the company. Being a good hostess is an occupational hazard.

 

 

 

DANA

There could be worse.

 

REGAN

Such as?

 

DANA

Intruding in someone's house in the middle of the night and redoing their bathroom.

(Regan holds up her wine glass.)

 

REGAN

To my beautiful new bathroom.

(Dana holds up her wine glass and after she toasts they clink glasses and drink.)

 

DANA

To finally putting some life in there.

(Regan lifts her glass again.)

REGAN

To the incredible person who made it happen. You really are an artist.

 

DANA

Not really, but I do aim to please.

(They drink again and Regan leans back.)

 

REGAN

You don't give yourself enough credit. Do you do a lot of artwork?

(Dana gets herself comfortable by sinking further into the pillows.)

 

DANA

When I'm inspired. My art is in working with spaces.

 

REGAN

Editing is kind of like that. Putting together the magazine you have to see how things go together, find the flow.

 

DANA

Exactly. I bet you'd make a great decorator.

 

REGAN

I bet you'd make a hell of an editor. What other things do you like to do?

(Dana is feeling very relaxed due to the wine and exhaustion.)

 

DANA

You mean like read books and go biking in the rain?

 

REGAN

Yeah, like that.

 

DANA

Climb trees.

(She reaches for another cracker.)

Oooohhhh, Oh, Oh

(She gives up on the cracker, her shoulders are too sore.)

 

REGAN

You must be sore. Here, lie face down.

(Dana hesitates looking at Regan, somewhere her brain is telling her this is not a good idea but then she gives in and relaxes on the floor. Regan rolls Dana onto her stomach and begins rubbing her shoulders glad she can do something for Dana.)

How's this?

 

DANA

Oh God, that's fabulous.

(A moment passes.)

You are really good at this.

 

REGAN

I use to rub my Dad's shoulders all the time when he would get really stressed from work. It's one of those skills that has come in handy over the years.

 

DANA

If you keep this up I may never leave.

(She rolls over while Regan is still rubbing her shoulders. Regan moves one hand out of the way and the other comes to rest on the front of Dana's shoulder. Dana realizes that if she does not stop this it could lead to something she is not ready for.)

 

REGAN

I wasn't finished yet.

 

DANA

It's okay, I feel much better, you have amazing hands.

(They look into each other's eyes for a long moment. Regan's finger brushes across Dana's cheek.)

 

REGAN

You're amazing.

 

DANA

No, I'm not.

 

(Dana looks away. Regan senses she needs to lighten the mood, she sits back.)

 

REGAN

Well, you will allow me my own opinion. Besides I wouldn't have hired you if I hadn't thought you weren't extraordinary.

 

DANA

Maybe we should change the subject.

 

REGAN

I'm sensing there's a story there.

 

DANA

Everyone has a story. Even you.

 

REGAN

Yes, but mine isn't that exciting.

 

DANA

I don't believe you.

 

REGAN

Nobody likes fairy tales with happy endings, there boring.

 

DANA

Are you telling me your life has been a bed of roses?

 

REGAN

Compared to some, yes.

 

DANA

Even roses have thorns.

 

REGAN

Yes, but it all depends on how deep you get pricked.

 

DANA

Deep or not, rose thorns always hurt.

 

REGAN

And you're philosophical as well.

(Regan smiles down at Dana, enjoying the other woman's company.)

 

DANA

No, it's late, I'm tired and I've had too much wine.

(There is a long moment with them both staring out into space, contemplating.)

 

REGAN

There's not much time left.

(There is a double meaning in what Regan has said. Dana refuses to hear it.)

 

DANA

No. But don't worry at the rate we're going we might actually finish a few days ahead of schedule.

 

REGAN

I can't believe I move in tomorrow. It seems the time has flown by. It'll be strange not having you here every day. I will simply have to come up with new projects for you. Or I could just ask you over.

(She looks over at Dana who has fallen asleep on the pillow. Regan watches her for a moment then goes and gets a blanket from her bedroom and covers Dana. She blows out the candles and moves the plate and glasses and wine. She brushes a strand of hair from Dana's cheek looking longingly at her for a moment then blows out the last candle. She starts for her bedroom looking one last time at Dana before exiting.)

 

 

Sc. 19A

 

INT. REGAN'S HOUSE - LVRM/KITCHEN DAY

 

(The next morning Regan is in the kitchen making tea. Dana wakes at a noise from the kitchen. She has slept on the floor all night in the blanket. She gets up looking around realizing what she has done, and also remembering the night before. She folds the blanket quickly and sets it atop the pillows then goes into the kitchen. Seeing Dana walk in Regan pours hot water into a prepared mug.)

 

REGAN

Good morning.

(Dana looks a little embarrassed and flustered.)

 

DANA

Morning. What time is it?

 

REGAN

Almost eight. I made you some tea.

(She hands Dana the mug.)

 

DANA

Thanks. I'm so sorry I fell asleep last night.

 

REGAN

You mean this morning. It was only a few hours ago. You still look tired, can I make you some breakfast?

 

DANA

I'm fine. I need to get home so I can be back here before Henry and Amy show up.

 

REGAN

You can shower here if you like.

 

DANA

Thanks, but I really have to go. I have intruded on you enough, I truly am sorry.

 

REGAN

Don't be, I had a nice time last night. There's nothing to be sorry about.

 

DANA

I had a good time as well, but I should go now. What time are you meeting the movers?

(Regan walks Dana to the door, when they get there she hands Dana her bag.)

 

REGAN

Nine o'clock. Dana, thanks again for the bathroom.

(She gives Dana a hug.)

 

DANA

I'll see you later. It's going to be a long day.

(She leaves.)

 

 

Sc. 19B

 

INT. / EXT. REGAN'S HOUSE SAME DAY

 

(Later that day the movers are delivering Regan's possessions; it's moving in day. Henry, Amy, Dana, and Regan are helping direct furniture and unpack. A delivery from Pogo also arrives with a few pieces of furniture and Chris gets suckered into helping unpack. Dana and Henry are a whorl wind of activity placing everything where it should go. Amy gives up on trying to keep up with them and helps Regan unpacking boxes. These are montage shots of the movers, unpacking, furniture being moved and removed, everything being shifted, looks of approval and disapproval from everyone including the movers. Music over scores the montage with dialogue breaking up the shots.)

 

(Regan pulls up in her car with the moving truck right behind her. As the truck is maneuvering to park and get their ramps set up Regan meets Dana and Henry at the front door. Dana is holding a clipboard with a detailed outline of where everything goes.)

 

REGAN

Are you guys ready for this?

 

HENRY

Are you kidding, this is the fun part.

 

REGAN

Is he serious?

 

DANA

Absolutely.

 

REGAN

I don't know it looks like a lot of work to me.

 

DANA

Yes, but when you see this place start to come alive, it'll all be worth it.

(The movers' start bringing furniture in and Dana directs them where to go she gives Henry the clipboard because she knows the list by heart. Regan unpacks grocery bags with snacks and drinks for everyone. Henry is checking each box that comes in and directs the mover to their location. Amy arrives with coffee and tea and donuts for everyone. She takes them into the kitchen.)

 

REGAN

Amy, donuts, that's what I forgot, great, we can put them out on this counter.

(Amy begins setting out the donuts.)

So, do you get forced into helping other people move in all the time?

 

AMY

No, I volunteer. It gets me out of the office and it's a lot of fun.

 

REGAN

I must be looking at this the wrong way. Henry said the same thing about this being the fun part.

 

AMY

Of course it's more work for you, you had to pack everything up, but we get to just unpack and make pretty pictures. There's something really exciting about creating a space that people are going to enjoy everyday.

 

(Montage shots of everyone working. Dana and Henry are moving furniture about as the movers bring it in. Rugs have gone down, and Amy is placing paintings and wall hangings along the walls. According to Henry's direction. Dana comes behind them and moves everything into new positions.)

 

REGAN

Dana, reinforcements have arrived, Chris just pulled up.

 

DANA

Great, Henry could you give Chris a hand with the tables.

(Henry stands up and applauds in the direction of the door as Chris walks in.)

 

CHRIS

It's always nice to be welcomed.

 

DANA

Hi Chris. Henry was just coming to help you.

(Regan walks over and gives Chris a big hug.)

 

REGAN

Thanks for bring the stuff over today.

 

CHRIS

No problem, I'm always willing to help out my best customer.

 

REGAN

So that means your staying for the whole day.

(Henry walks over and takes Chris by the arm and guides her out the door.)

 

HENRY

Don't worry; we'll give you the easy tasks, like sorting the spices.

 

(Montage shots of Regan and Chris making sandwiches and drinks and setting up plates with sandwiches, chips and potato salad on the counter and lining up drinks as people pass by and grab a lunch. All the furniture is finally in, the movers leave and everyone collapses on sofas and chairs in the living room.)

 

REGAN

Well, it's all here.

 

CHRIS

I didn't know you had so much stuff. Where were you keeping it all?

 

REGAN

Some of it was in storage.

(Dana jumps up with great enthusiasm.)

 

DANA

Right, we have a long way to go. The furniture is about where it will be so pick your room and dig in.

 

CHRIS

Is she on drugs?

 

HENRY

No, that's just our little Dana, one big ball of unstoppable energy.

 

REGAN

I'll take the kitchen.

 

AMY

I'll help you.

 

HENRY

I'm already in the guest room.

 

CHRIS

I'm with him.

 

DANA

Then I'll finish in here and start on the office.

REGAN

I'll help with that as soon as the kitchen is finished.

(They all head off in different directions. Dana starts hanging paintings on the living room wall.)

 

 

Sc. 19C

 

INT. REGAN'S HOUSE - MASTER BDRM SAME NIGHT

 

(Regan and Dana are in the master bedroom. It is late in the evening and everyone except Henry has gone home. Henry is somewhere else in the house. Dana is hanging the last picture on the wall. Regan is bringing in sheets for the bed. Dana steps away with hammer in hand and straightens the frame.)

 

DANA

That's the last of it for tonight.

 

REGAN

I can't believe how much we've gotten done today.

 

DANA

Are you sure you didn't want to finish unpacking the office?

 

REGAN

No. The rest of it is stuff I have to look at and then put away. You guys are awesome; you've done more than enough.

(Dana walks over and helps put the sheets on the bed.)

 

REGAN

So is this something you do for all your clients?

 

DANA

Getting you comfortably into your home is our job.

 

REGAN

Yes, but helping move and unpack?

 

DANA

Consider yourself lucky; you're our only client right now so you get a little extra attention.

 

REGAN

Is that it? And all this time I thought we were becoming friends.

(Dana hands a pillow to Regan.)

 

DANA

I didn't mean it like that. We are friends I hope.

 

REGAN

I hope for a lot...

(Henry is in the hallway.)

 

HENRY

Dana, Regan, where are you guys?

(He walks in room.)

There you are. My glass slippers have turned into a pumpkin and the glass coffin is descending.

(Dana breaks eye contact with Regan.)

 

DANA

I think you have your fairy tales mixed up.

 

HENRY

That's because I'm tired and ready to go to bed.

 

DANA

That sounds good. I think we had better go. You must be exhausted. We'll see you on Monday.

 

REGAN

Right. You're not coming by tomorrow?

 

 

DANA

You should have a day to yourself to get a feel for the place.

 

HENRY

Regan, it's been a special day, try not to do it again anytime too soon.

 

REGAN

I'll walk you out.

 

DANA

That's okay, we can find it. Good night Regan.

 

REGAN

Good night.

 

HENRY

Night.

 

(Dana and Henry walk out and leave Regan. She sits on the bed staring after Dana then falls back on the bed covering her face with a pillow and letting out a frustrated scream.)

 

 

Sc. 19D

 

EXT. REGAN'S HOUSE SAME NIGHT

 

(Outside the front door. Dana and Henry are walking to their cars. Dana is very quiet.)

 

HENRY

Are you okay?

 

DANA

Yeah, why?

 

HENRY

You seem awfully quiet.

 

DANA

I'm tired.

 

HENRY

Dana is something going on?

 

DANA

I just need a good night's sleep.

(Henry takes a long hard look at her and gives her a hug.)

 

HENRY

Well, get lots of sleep little dove. And remember tomorrow night you, Taylor and me are going to paint this town mauve.

 

DANA

I think you mean red.

 

HENRY

Red is for stop signs. And there will be no stopping us tomorrow.

 

DANA

Henry, I don't know.

 

HENRY

You are not going to back out on us now. You're going to break Taylor 's heart. He thinks he has some magic over you and you will go out for no one else but him. And I will not have my boy's heart broken.

 

DANA

Okay, call me tomorrow.

 

HENRY

That's my girl.

(They give each other one last hug then get in their cars and leave.)

 

 

Sc. 20A

 

INT. NIGHT CLUB NIGHT

 

(Inside a gay nightclub. Two stories, the top floor is a balcony looking down on the first floor where the dance floor is. The club is crowded and loud music is playing. Dana, Henry, and Taylor are on the balcony drinking and watching the people below. They are having a good time. Taylor and Henry spotting people they know.)

 

TAYLOR

You need to be down there.

 

DANA

You need to be down there. Why are we here if your not going to take this poor boy dancing.

 

TAYLOR

And leave you all alone, someone could come along and gobble you up.

 

HENRY

Leave her alone, she's having a good time.

 

(Dana goes back to watching people below and the boys spot someone they know and wave to them. Dana spots Regan off to the side of the dance floor, this makes her smile, but only for a moment, she is with a group of people and has her arm around a woman as they are swaying to the beat. The woman is whispering something in Regan's ear, Regan smiles real big and kisses the woman then embraces her tightly. This upsets Dana and she cannot watch the scene anymore. Consumed by the emotions flooding over her Dana feels the need to escape. She quickly leaves without saying a word to Henry or Taylor. Regan is laughing with the woman and throws her head back in time to catch sight of Dana turning and leaving.)

 

(Henry and Taylor notice when Dana quickly leaves. Taylor tries to grab her but she is gone too quickly. Henry looks down on the floor to see what could have upset her and sees Regan disengaging herself from a woman and heading in the direction Dana went. He grabs Taylor 's arm.)

 

HENRY

Let her go.

 

TAYLOR

Henry, she's upset.

 

HENRY

I know. It's a good thing, but

(He points to Regan crossing the crowded dance floor.)

somebody else needs to handle this one.

 

(Regan excuses herself quickly and tries to make it to the stairs, as she reaches the stairs she sees Dana's back through the crowd heading for the exit. She makes her way through the crowd and out the door, but it is too late, Dana is gone. She looks around a little and then her friend comes out.)

 

FRIEND

Are you all right Regan?

 

REGAN

(Regan starts back inside as she takes one last look around for Dana.)

Fine, I just thought I saw someone.

 

Sc. 20B

 

INT. DANA'S HOUSE SAME NIGHT

 

(Dana is at home, she is upset with herself for letting this get to her. She wanders around the house and finally throws herself on the bed.)

 

DANA

What am I doing?

(She lies there staring at the ceiling. After a few moments there is a clap of thunder and the sound of rain. Dana looks out the window. She changes clothes into jeans, a sweatshirt and sneakers then gets her bike. She takes off into the dark rain.)

 

 

Sc. 20C

 

EXT. TREE SAME NIGHT

 

(Dana has biked to her tree. The rain is pouring down as she climbs the tree. She sits catching her breath and feeling the rain on her face, and then she starts to cry. She never wanted to feel this way again.)

 

 

Sc. 21A

 

EXT. TREE DAYBREAK

 

(Just as the sun is coming up Dana climbs out of the tree. She is soaking wet, it has rained all night. She is lethargic, tired and sad, she gets on her bike and rides away.)

 

 

Sc. 21B

 

INT. DANA'S OFFICE SAME DAY

 

(Dana is inside her office, she goes into Henry's office and opens his bottom file cabinet drawer and pulls out a gym bag. She takes it into the bathroom and pulls off her wet clothes and puts on Henry's spare work out clothes. A sweatshirt with the sleeves cut out and a pair of sweat pants and gym socks. She leaves the bag and pile of wet clothes on the floor and goes into her office. She curls up in the chair behind her desk and looks out the window. She is very withdrawn. The picture is of a wounded little girl. The phone rings and she ignores it.)

 

 

Sc. 21C

 

INT. REGAN'S HOUSE EARLY MORNING SAME DAY

 

(It is early morning. Regan is calling Dana's house again and getting no answer, she tries the office and gets no answer. She looks at the clock but can wait no longer, and calls Henry. Still asleep Henry picks up the phone but cannot speak. We cut to a split screen when Henry picks up the phone.)

 

REGAN

Henry? Are you there?

 

HENRY

Um hum.

 

REGAN

It's Regan Henry, I'm sorry to call you so early, but I'm trying to find Dana.

 

HENRY

Regan?

 

REGAN

Is Dana there?

 

HENRY

No.

 

REGAN

Do you know where she is?

 

HENRY

She's not home?

 

REGAN

No.

 

HENRY

Well, she likes to get up early and go biking, try her cell.

 

REGAN

I did she's not answering.

(Henry wakes up a little more now.)

 

HENRY

She does that sometimes. She goes to Cantina's for breakfast almost every Sunday, that's probably where she is.

 

REGAN

Cantina's?

 

HENRY

On Overtone. If she's not there then she's in the office, she lives in that place.

 

REGAN

Thanks Henry, sorry I woke you.

 

HENRY

Is everything okay?

 

REGAN

Sure, I just needed to talk to Dana.

 

HENRY

Good, it's not my place, but I think you two really need to talk.

(He hangs up and rolls over into Taylor and falls back asleep.)

 

(The screen goes back to just Regan as she hangs up the phone. She grabs her keys and cell phone and walks to her car. She tries Dana's cell and office again, no answer. She drives to Cantina's and goes in.)

 

 

Sc. 21D

 

INT. RESTAURANT SAME DAY

 

(Stopping the first waitress she sees.)

 

REGAN

I'm sorry but I am looking for someone. She comes here for breakfast every Sunday.

 

WAITRESS

You can have a look around, there's not that many people here, but it sounds like you want Dana.

 

REGAN

Yes, do you know her?

 

WAITRESS

Sure, everybody knows Dana. Hang on.

Bonnie!

(She calls over Bonnie.)

 

BONNIE

What cha need?

 

WAITRESS

You seen Dana this morning?

 

 

BONNIE

No, but it's still a little early for her, she should be here in about a half hour though.

 

WAITRESS

Sorry, can't help you.

 

REGAN

Thanks.

(She leaves the restaurant.)

 

 

Sc. 21E

 

EXT. DANA'S HOUSE SAME DAY

 

(Regan drives to Dana's house. She sees Dana's car and knocks on the door, she tries looking through the windows and knocks again, but there is no answer.)

 

 

Sc. 21F

 

EXT. DANA'S OFFICE SAME DAY

 

(With no luck she drives to Dana's office. She parks her car and is walking up to the door when she notices a muddy bike thrown in the bushes near the door. She tries the door handle and it opens, she goes in.)

 

 

 

Sc. 21G

 

INT. DANA'S OFFICE SAME DAY

 

(Regan quietly walks through Dana's offices, looking in each room, she finds Dana sitting in a chair staring out the window, curled up with her knees tucked under her chin. Her clothes are too big and her hair is a little wet. She walks over to stand in front of Dana, leaning against the windowsill. Dana does not notice Regan until she is almost in front of her. She starts a little and sits up letting her legs fall crossed legged in the chair.)

 

DANA

Hi.

 

REGAN

Hi.

 

DANA

What are you doing here?

 

REGAN

Looking for you.

 

DANA

I just came in to get a little work done.

(She turns to her desk and looks for any kind of paper work.)

 

REGAN

I can see that.

(Dana turns back to Regan giving up the facade of work.)

 

DANA

It's too early to concentrate.

 

REGAN

I've been calling you all morning.

 

DANA

Really, I've been out riding and forgot my cell phone.

 

REGAN

And here.

 

DANA

Well, it's not business hours you know.

(She turns back to her desk to fumble with papers trying to focus on anything else.)

 

REGAN

Dana we need to talk.

 

DANA

Talk? What about?

 

REGAN

Last night for a start.

 

DANA

Last night?

(Regan moves to sit on the edge of Dana's desk resolved to get their feelings out in the open.)

 

REGAN

At the club.

 

DANA

What club?

 

REGAN

You were there Dana, I saw you. I even tried to catch you, but you were gone before I could get to the door.

 

DANA

Regan, your private life is none of my business.

 

REGAN

I was out last night with some friends I haven't seen in a while. My friend Meg and her girlfriend Lilly are having a baby, we were celebrating.

 

DANA

That's great, but it's really not

(Regan puts a hand over Dana's.)

 

REGAN

I know it's not, but I'd like it to be. Dana, I care about you and more than that I am very attracted to you and the more I know you and spend time with you, the more I am falling in love with you. And the way you ran out of there last night, you can't tell me you don't have feelings for me.

(Dana removes her hand.)

 

DANA

I can't

 

REGAN

Why not? Dana, it's okay to be a little scared, especially your first time.

 

DANA

It's not that. Regan, I'm gay.

 

REGAN

Oh, then I don't understand. There is something between us, I know you feel it too.

 

DANA

I …I can't do this.

 

REGAN

Do what, be happy?

 

DANA

Regan…

(Dana gets up and walks to the other side of Regan and leans against the wall looking out the window.)

 

REGAN

Dana stop running away and just talk to me.

(Dana stares out the window a long moment.)

 

DANA

It may seem foolish, but my last relationship was very painful and ended very badly. I lost a lot when Melissa and I split up, including the ability to trust anyone that much ever again.

 

REGAN

Everyone has bad breakups, but that's no reason to resign yourself to never experiencing love again.

 

DANA

I know it's not logical, but the four years we were together went from something wonderful to an abusive and frightening living hell. I had gotten use to the constant verbal abuse and getting knocked around, it wasn't much different than living with my father. I tried so hard to please him, I just wanted him to love me. Just like Melissa, the harder I tried to please them the more abusive they became. I finally realized when she put me in the hospital with a broken arm, two broken ribs and twelve stitches, I knew I had to get out. So I snuck out of the hospital and hid out at Henry's. The breakup was pretty ugly; I gave her the house just to leave me alone, well, that and the threat of prosecution.

REGAN

Dana...

(Touching Dana's arm)

I'm so sorry, I had no idea. Please believe me when I tell you I would never hurt you. I could never do something like that, especially to someone I cared about.

 

DANA

When I first met Melissa I would have never thought she would turn into the person she became when she was with me. She was smart and beautiful, very successful, she could charm anyone. And no one ever knew just what a monster she could be, except me. I've always thought it might be something I bring out in people, first my father after my mother died, then my first serious relationship. If I were you I would run as far away form me as you could get.

 

REGAN

Dana I'm sorry you have had such horrible relationships in your life, but it's not your fault. You don't make people bad or bring out the worst in them. When I'm with you I feel happy and excited, I think about you all the time and what I can do to make you smile, because seeing you smile is the most beautiful thing in the world to me. I want to be as close to you as I can get and you have to trust that I won't hurt you.

 

DANA

And if I don't know how to trust?

 

REGAN

Then let me show you. Just tell me what you want.

(Dana looks out the window for a long moment, and struggles with what she wants and what she fears. Finally she turns to Regan.)

 

DANA

You.

(Regan gently leans over and kisses Dana. She stops and looks at Dana's face to see her reaction. Dana takes a deep breath and kisses Regan deeply. They allow themselves a few moments.)

 

REGAN

I won't hurt you.

(A tear rolls down Dana's cheek.)

 

DANA

I have been so afraid all this time.

 

REGAN

You don't have to be afraid.

 

DANA

Now that I am finally in your arms, I don't want to be afraid anymore. I feel....light.

(They kiss again and stumble back into the sofa. Regan lying on top of Dana.)

 

REGAN

You have no idea how badly I've wanted to do this.

(She kisses Dana and Dana wraps her arms and legs around Regan smiling.)

 

DANA

I might have an idea.

 

 

Sc. 22A

 

INT. DANA'S OFFICE DAY

 

(Monday morning, Amy comes into the office to find a dirty bike in the reception area. She looks around and finds the pile of wet clothes in the bathroom and the empty gym bag. She goes to her desk and there is a note on it.)

 

I'm not coming in today and don't even look for me. Take the day off and tell Henry to do the same. Dana.

 

( Henry walks in as Amy is reading the note, she hands it to him as he looks at the bike questioningly.)

 

HENRY

Well, Amen.

 

 

Sc. 22B

 

INT. REGAN'S HOUSE BEDROOM SAME DAY

 

(In Regan's bedroom the two are in bed half asleep half awake in each other's arms.)

 

DANA

What's Henry going to think when he finds my wet clothes in the bathroom and his empty gym bag?

 

REGAN

He won't think anything, he'll know.

(Dana throws the covers over her face.)

 

DANA

Aaugghhh!

 

REGAN

Dana.

(She pulls the covers from Dana's face.)

He has been waiting for this.

 

DANA

That boy is too perceptive for his own good.

 

REGAN

Are you okay with it.

 

DANA

Of course, Henry's my best friend, he knows everything about me.

 

REGAN

He looks out for you.

 

DANA

I know, I just don't want him looking too close.

(They kiss.)

 

 

Sc. 23A

 

INT. DANA'S OFFICE DAY

 

(Dana enters the office late. Amy is at her desk.)

 

DANA

Morning Amy.

(Dana goes straight to her office without stopping trying to avoid the questions she knows are coming. Amy has gotten up form her desk and is moving around to follow Dana.)

 

AMY

Oh no no no no. No no no no no no.

(Henry see Dana go by and jumps up to follow her into her office, Amy is in hot pursuit. Henry cuts her off at Dana's door.)

 

HENRY

Me first and then she's all yours.

(He goes into the office and shuts the door. Amy scornfully goes back to her desk.)

You have some splaneing to do little Miss.

 

DANA

What's the matter, you didn't enjoy your day off?

 

HENRY

That's not what I'm talking about and you know it.

 

DANA

Now Henry.

 

HENRY

From the beginning and don't leave out the good parts. And where are my clothes?

 

DANA

It's a long story.

 

HENRY

Then you had better get started.

 

DANA

I borrowed your clothes because mine were all wet.

 

 

HENRY

Yes, we noticed.

 

DANA

Sorry, where are they anyway.

 

HENRY

Don't change the subject.

 

DANA

Okay. After I left the club.

 

HENRY

You mean ran away.

 

DANA

I went for a bike ride.

 

HENRY

In the rain. In the middle of the night. You are insane.

 

DANA

Do you want to hear this?

(Henry makes a tic-a-lock motion across his mouth.)

Anyway I wound up here and needed some dry clothes.

 

HENRY

And.

 

DANA

And Regan came by.

 

HENRY

And.

 

DANA

Would you stop it. And we talked.

 

HENRY

Finally.

 

DANA

I told her about Melissa and my father.

 

HENRY

What did she say?

 

DANA

She kissed me.

 

HENRY

Thank the heavens!!

 

DANA

And I kissed her back.

 

HENRY

Did you two make out in the office!?!

 

DANA

That is none of your business.

 

HENRY

So you did. So. Do we have a girlfriend?

 

DANA

I have a girlfriend. You are not invited.

 

HENRY

Yippee!!!

 

DANA

Yippee? What is that, what are you three now?

 

HENRY

And a half!

 

DANA

I'm still a little nervous Henry.

 

HENRY

(He walks over and wraps Dana in a comforting hug.)

Don't you worry baby girl, I'm watching out for you now, and I'm not going to let anything happen to you. I'm so happy for you.

 

DANA

That makes two of us.

(Amy knocks on the door and comes in.)

 

AMY

Can I come in now?

 

DANA

Yes.

 

HENRY

We have a girlfriend now.

 

DANA

If you keep this up I'm going to call Taylor .

 

HENRY

She and Regan got together.

 

AMY

Well it's about time. Can we get some work done now?

(Henry leaves the office and throws a scowling glance at Amy.)

 

HENRY

You haven't a romantic bone in your body.

 

AMY

Have you seen what I live with, romance is not an option.

(She looks at Dana and giggles then goes over and hugs her.)

 

 

Sc. 24A

 

INT. REGAN'S HOUSE - OFFICE DAY

 

(Regan and Dana are in Regan's house. Dana is finishing the final touches to the office.)

 

REGAN

So, this job is almost over. Have you figured out where you're going on vacation?

 

DANA

I'm not going on vacation.

 

REGAN

I think if you don't your office is going to go on strike and force you out.

 

DANA

I don't want to think about leaving now.

 

REGAN

Why?

 

 

DANA

Why do you think?

(She moves into Regan's arms and kisses her.)

 

REGAN

Who says I might not want a vacation as well.

 

DANA

Are you serious?

 

REGAN

Why not? I know a great cabin in the mountains. Or if you like there is this secluded ocean front hut on St. Bart's that is just heavenly.

 

DANA

Going away together, just the two of us. I don't know, it could be pretty intense.

 

REGAN

That's what I'm hoping for.

 

 

Sc. 25A

 

INT. OFFICE DAY

 

(In the office of Phillip Mason. Phillip is working at his desk. Regan comes through the door and breezes over to her father, gives him a kiss on the top of his head then sit on the edge of his desk.)

 

PHILLIP

Well, to what do I owe the pleasure of this visit?

 

REGAN

I have some news for you.

 

PHILLIP

It must be good.

 

REGAN

I've met someone.

 

PHILLIP

I thought as much. First you were distracted and crabby and now you're distracted and happy as a clam. I figured it must be love.

 

 

REGAN

Did you have seafood for lunch?

 

PHILLIP

So, when do I get to meet her?

 

REGAN

At the house warming party.

 

PHILLIP

And who is this woman who has captured my daughter's heart?

 

REGAN

Her name is Dana Thomas. She owns the decorating firm I hired to do my house.

 

PHILLIP

Then I guess I know how you two met.

 

REGAN

You're going to love her Daddy. She's intelligent and talented and a lot of fun to be around.

 

PHILLIP

I'm sure I will like her. She makes you happy doesn't she?

 

REGAN

More than I have ever been.

 

PHILLIP

That's all that matters to me.

 

REGAN

I know, but just wait Daddy, you are going to flip for her.

 

 

 

Sc. 26A

 

EXT. REGAN'S HOUSE - BACKYARD DAY

 

(In back yard of Regan's house. Dana is just hanging the last of the garden wall sculptures and she and Regan kiss to celebrate the completion of the house. Henry walks in through the side gate and sees them kissing. He is so excited to see Dana finally happy.)

 

 

HENRY

I am so happy I could just cry.

(Caught but not embarrassed, they break off the kiss but not the embrace.)

 

DANA

Don't you ever knock.

 

HENRY

We're outside.

 

REGAN

Come on in Henry.

 

HENRY

I was just stopping by to see if there was anything else that needed to be done.

 

DANA

I just hung the last of it. This job is officially completed.

 

HENRY

This calls for a celebration.

 

REGAN

What do you think we were doing.

 

HENRY

Oh, you can do that later.

(He produces a collapsible cooler with champagne inside.)

We need champagne!

 

DANA

It's a tradition. We always toast the new place with the client at the end of every job.

 

REGAN

Well, don't let me break tradition. Let me get some glasses.

 

HENRY

I brought them with me.

(He pops the cork and they all cheer, he pours each a glass.)

Here's to your new home, may it be filled with years of love and happiness.

 

DANA

And thank you for letting us be apart of making your house your home.

 

 

Sc. 27A

 

INT. DANA'S OFFICE DAY

 

(In the reception of Dana's office. Regan enters and is stopped by Amy.)

 

REGAN

Hi Amy!

 

AMY

Hang on a second Regan. Dana's father is here.

 

REGAN

He's back there now?

 

AMY

Yeah, he just showed up unannounced and unexpected.

 

REGAN

How long has he been in there?

 

AMY

About fifteen minutes.

 

REGAN

How's Dana?

 

AMY

She was about the color of paste when he walked in, but I haven't heard any yelling or crying so things must be going well.

 

REGAN

She's not telling him about us is she?

 

AMY

I don't' think so.

(The door to Dana's office opens and a very stern looking gaunt man in a business suit comes down the hall with Dana behind him.)

 

MR. THOMAS

I will expect you at seven o'clock sharp at my hotel. I will make the dinner reservations.

(Dana and her father enter the reception where Regan is talking to Amy. Dana's eyes grow big and she seems to lose the last remaining color in her face.)

 

DANA

Regan.

 

REGAN

Hi Dana.

 

DANA

Father this is Regan Mason. Regan this is my father James Thomas.

(Regan quickly extends her hand.)

 

REGAN

It's nice to meet you. Dana just finished a house for me.

(He shakes her hand almost reluctantly.)

 

MR. THOMAS

I hope you found everything to be satisfactory.

 

REGAN

Everything was perfect.

 

MR. THOMAS

Yes, well.

(He is uninterested in Regan and quickly dismisses her and turns to Dana.)

Seven o'clock, don't be late.

(This treatment by her father of the person she loves finally snaps something in Dana, she takes a deep breath and stands firm.)

 

DANA

Father, I think you should know that Regan is more than just a former client.

She is my girlfriend. And I would appreciate it if you would show her a little courtesy.

(Her father looks at her as if she were covered with filth. And then looks at Regan the same way. He takes a step away from Regan.)

 

MR. THOMAS

So you're at it again. I should have known. I should have never let you move out here. Look at what it's done to you!

 

DANA

That wasn't your choice. And as for what it has done for me, I have my own business and house and I am successful.

 

MR. THOMAS

You disgust me.

 

DANA

I'm your daughter and a good person.

 

MR. THOMAS

You are not right!

 

DANA

No Father. It's you who are not right. You are a mean person, a bitter, mean person. No wonder Mother left you.

 

(Mr. Thomas hits Dana in the face so hard she falls backward to the ground. Regan lunges for him only to be stopped by Henry who has come in when he heard the yelling. Henry holds onto Regan.)

 

HENRY

No, she has to do this.

 

MR. THOMAS

Don't you ever mention your Mother to me. She was a good woman and didn't deserve a thing like you for a daughter.

 

(Dana is still on the floor but she now looks at her father with revulsion. A door has opened inside her and she finally decides to fight back.)

 

DANA

My mother was a beautiful person who didn't deserve a bastard like you for a husband.

She know she wasn't going on a trip that day. You can tell all the lies you want, she was running away. Away from you. I remember.

 

MR. THOMAS

You don't know anything.

(Dana gets up and has a new courage she has never felt before.)

 

DANA

She was leaving because you were so horrible to her, you use to hit her.

 

MR. THOMAS

That's a lie.

 

DANA

Just like you would hit me after she was gone. As for mother, she knew about me and didn't want me to suffer at your hands. The day of the accident she had packed suitcases for us and was coming to get me at school. She was so afraid you would find out and that's when it happened.

 

MR. THOMAS

She wasn't leaving. She was going to your school and was killed, because she had to bring you a book you had forgotten. She died because of you.

 

DANA

I didn't forgotten any book. That's what she said to get out of the house away from you. She knew I was different and she loved me. She was trying to protect me from you. She died trying to get away form you.

(He tries to hit her again and Dana sidesteps the blow, her anger and hatered of her abusive father finally giving her courage.)

 

MR. THOMAS

You don't know anything.

 

DANA

I know you are a mean person. You're a mean pathetic person and you don't have any control over me anymore. Everyone knows what you are.

(Mr. Thomas looks around at Henry, Regan, Amy and finally Dana. He is disgusted and can feel his control over his daughter slipping away.)

 

MR. THOMAS

Perverts all of you. You are all abnormal abominations.

 

DANA

I think you need to leave now Father.

 

MR. THOMAS

I am leaving and I wash my hands of you, I'm done with you.

 

DANA

That's for the best, because you are not welcome in my life anymore. I am done with trying to make you love me.

 

(Amy opens the front door as he takes one last sneer at Dana and storms out. Amy slams the door so fast it almost hits him. Regan rushes over to Dana who is looking a little weak in the knees. Her cheek is bleeding and a huge purple mark is coming up on the side of her face.)

 

REGAN

Are you okay?

 

DANA

I'm fine, I just need to sit down.

 

 

Sc. 27B

 

INT. DANA'S OFFICE SAME DAY

 

(Regan and Henry take Dana into her office and sit her down on the sofa. Henry goes to fix Dana a drink and Amy comes in with a wet washcloth and the first aid kit. Regan sits holding her.)

 

DANA

I'm okay really.

 

REGAN

Let me clean this up.

(Regan takes the washcloth and starts to clean the blood away, she is pale and shaking and in disbelief as to what has happened.)

 

AMY

I 'll get an ice pack, you're going to have one heck of a shiner.

 

HENRY

Here drink this.

(Dana takes a questionable sniff of the drink.)

 

DANA

What is it?

 

HENRY

Don't ask just drink.

(She takes a sip and almost gags.)

 

DANA

What are you trying to do kill me? Could I just have a soda.

 

HENRY

Right.

(Henry takes the drink downs it and fixes a soda. He is shaken also but is trying his best to be strong.)

 

REGAN

Are you okay love? Should we take you to the hospital?

 

DANA

He doesn't hit that hard.

(She takes a thoughtful pause as the reality of what just happened sinks in.)

I just threw my father out.

(Henry hands Dana her soda.)

 

HENRY

Yes you did girlfriend. I was so proud.

 

REGAN

It's a good thing you did because I was ready to kill him.

 

HENRY

And she is strong.

(Amy enters with a baggy of ice, she hands it to Regan who wraps the bloodied cloth around it and puts it on Dana's face. Amy is the only one who seems not to be shaken up by the events. She just hides it well.)

 

AMY

Did you see the look on that man's face. He looked possessed.

 

DANA

No that was just him really pissed off.

 

REGAN

You don't have to worry about him anymore.

 

DANA

Oh, he'll be back. He doesn't like loosing to anyone, especially me.

 

REGAN

We can get a restraining order.

 

DANA

That won't be necessary. I can handle him now. He can never hurt me again.

 

REGAN

Do you really think he will try.

 

DANA

Probably, but it doesn't matter. I had always kept quiet about the suitcases and plane tickets they had found in my mothers car. Father had said that we were supposed to be going to visit my aunt and that's why it was in there. But he knew. She was leaving him and taking her queer daughter with her. He couldn't handle that she had gotten away so he blamed me for her death. I knew if I had told him I knew the truth it would have been even worse than it was. After so many years of being afraid I just buried it, but not anymore. I'm done with being afraid. I'm free.

(Regan hugs her and Henry and Amy join in a big group hug.)

 

 

Sc. 28A

 

INT. OFFICE DAY

 

(Regan enters her father's office and finds him at his calendar board; she goes to him and wraps her arms around him.)

 

 

PHILLIP

Hello Regan. What is it, is something wrong?

 

REGAN

I just needed to tell you how much I love you.

 

PHILLIP

Well, I love you too honey.

 

REGAN

I'm serious Daddy, you're the best father anyone could have.

 

PHILLIP

Regan, what's wrong.

 

REGAN

Dana's father dropped in to her office for a surprise inspection.

 

PHILLIP

Things didn't go very well?

 

REGAN

She introduced me and he went ballistic. The things he said and he hit her Daddy.

 

PHILLIP

Is she all right?

 

REGAN

She's fine now. A little bruised, but fine. All these years he's demoralized Dana and blamed her for her mother's death, when in reality she had been trying to run away with Dana to get away from him.

 

PHILLIP

How's Dana handling it?

 

REGAN

She's fine, relieved it seems. I'm the one who's a mess. I mean how can someone be that horrible to their own daughter?

 

PHILLIP

I don't know honey, but it sounds like Dana is able to put a bad part of her past behind her. You should be supportive of her and not dwell on this.

 

REGAN

I love you Daddy. I just want you to know how lucky I am to have you for a father.

 

PHILLIP

I feel the same way about you honey.

 

Sc. 29A

 

EXT. PARK DAY

 

(Henry and Dana are walking in a park, just taking some time to enjoy the day. Dana's face has a cut on her cheek and a nice bruise on her eye and side of her face.)

 

HENRY

How's your face feel?

 

DANA

Better than it looks.

 

HENRY

You'll hardly be able to see it by the time of the party this weekend.

 

DANA

You forget, I'm pretty good at hiding bruises. I'm not even going to think about it.

 

HENRY

But you do.

 

DANA

Yeah.

 

HENRY

You did the right thing you know.

 

DANA

I'm sure I could have handled it better, but your right.

 

HENRY

Sweetie, I have been waiting years for you to stand up to that man. He made your life miserable every chance he could and made you afraid of living. He's the reason you stayed with Melissa so long. I don't think there was an easy way to stand up to him. Maybe a little more private.

 

DANA

I'm sorry you guys had to be there.

HENRY

We're not. And I'm not sure you would have if we hadn't been there.

 

DANA

I know. It was just that when he disregarded Regan as if she were nothing, like he does with everything in my life, I couldn't take it anymore.

 

HENRY

That's what love does to us.

 

DANA

Yeah, it feels pretty good.

 

HENRY

Do you think he's going to be back?

 

DANA

Not for a while. The day after, I wrote him a long letter and said everything I should have said a long time ago. I was calm and collected and told him that this is my life and if he couldn't deal with it then to please stay away, because there was really no reason for us to have any contact.

 

HENRY

You think a letter will make a difference.

 

DANA

I don't know or care.

 

HENRY

I think we're all going to be okay.

(He wraps an arm around her shoulder and they walk a little ways.)

So, any thoughts on where you're going on vacation.

(She gives him a playful push and an exasperated huff.)

 

 

Sc. 30A

 

INT. REGAN'S HOUSE NIGHT

 

(Regan's house, she is having a house warming party. The house is full of people, friends, her father, people from work, from the club, Chris, a lot of the workers on the house and Dana, Henry, Taylor and Amy and her boyfriend Paul. Everyone is mingling and having a good time.)

 

(Dana, Henry, Taylor, Amy and Paul are talking to Chris and her girlfriend Abby. Regan walks over with her father.)

 

REGAN

Daddy, I would like you to meet the people responsible for everything you see. This is Henry, and Henry's partner Taylor , This is Amy and ...

 

AMY

My boyfriend Paul.

(Paul looks like a reject from a 1980's rock-a-billy club. He just nods a lot.)

 

REGAN

It's a pleasure to finally meet you Paul. And finally, Daddy this is Dana.

(Phillip shakes everyone's hand but when he gets to Dana he gives her a big smile and hug.)

 

PHILLIP

Dana, it is a pleasure to finally meet you. I've been hearing nothing but great things about you for the last few of months.

 

DANA

It's a pleasure to meet you sir.

 

PHILLIP

Please, call me Phillip. You've done a fantastic job with this place. And I have to say I have never seen my daughter so happy. You must be a very special person.

(Dana is a little unsure how to answer. She is not use to seeing a loving father.)

 

DANA

Thank you sir.

 

PHILLIP

I look forward to getting to know you. I was just telling Regan that you two should come up to the lake house for the weekend.

 

REGAN

I promise we'll come up after we get back.

 

HENRY

Get back? You two are going somewhere?

 

REGAN

We're going on vacation.

(Henry gives Regan a big hug in exaggerated relief.)

 

HENRY

Oh, thank you.

 

AMY

We'll take such good care of the office while your gone.

 

DANA

No you won't because everyone is getting a paid vacation.

(Amy is so excited by this she gives Dana a big hug.)

 

AMY

You are the best boss.

 

PHILLIP

Well, when you get back, give some thought to spending a little time with the old man.

 

DANA

I am looking forward to it.

 

(Two people bring over a pedestal sundial covered with a cloth and bow. Chris steps forward and people begin to quiet as they watch the gift move through the room to Regan.)

 

CHRIS

Regan, the girls and I wracked our brains to think of something to get the person who has everything and wants nothing. And this is what we came up with.

 

REGAN

You guys!

(She removes the bow and cover to reveal a sundial.)

 

It's wonderful!!

 

CHRIS

It's so you don't loose track of time when you are out in the garden.

 

REGAN

Perfect. Does it come with a lesson on how to tell time by it?

 

ABBY

I'll show you, it's easy.

 

(Regan raises her voice to get everyone's attention. She stands up on the hearth to make an announcement.)

 

REGAN

Everyone, can I have your attention.

I just want to thank all of you for coming tonight. It means a lot to me to share my new home with all the people I care about. I want to especially thank all of you here who worked so hard on the place, you did a great job. I love it. And to Amy, I know you kept everything on schedule, thank you. And Henry, thank you for all the long hours and hard work, you have become a dear friend. Finally, I want you all to meet the person most responsible for the look of my new house.

(She pulls Dana up on the hearth with her.)

Dana, I can't begin to thank you for all your work. You not only have given me a beautiful home you have given me the love to fill it with. Thank you.

(She embraces Dana and kisses her passionately. Everyone applauds. Regan and Dana smile and laugh and join the crowd.)

 

 

Sc. 30B

 

INT. REGAN'S HOUSE – LIVING ROOM SAME NIGHT

 

(Regan and Dana are collapsed onto the sofa, heads on each others shoulders, very happy and very tired. it is very late at night or early in the morning, the party has finally ended and they look around at the "party mess".)

 

REGAN

I'm going to wait until morning to clean up.

 

DANA

It is morning.

 

REGAN

Later in the morning.

(She pauses and yawns.)

My Dad really liked you.

 

 

DANA

I'm so glad, I was really nervous.

 

REGAN

Why?

 

DANA

Because he's your dad.

 

REGAN

Yes, and he's nothing like your father.

 

DANA

I know.

 

REGAN

All my friends liked you.

 

DANA

I'm so glad. I felt like I was being watched all night.

 

REGAN

You were.

(Their eyes are closing.)

So, have you decided where you want to go for vacation. Mountains or beach?

(Dana groans and opens her eyes and looks out into the back yard where everything is illuminated by the light of a full moon.)

 

DANA

Anyplace where I can see the moon.

(She wraps her arms around Regan and they both fall asleep curled up together on the sofa.)

 

(The closing credits start with a montage of shots of Regan and Dana on vacation.)

 

 

EXT. DAY / NIGHT

 

(First they are in the mountains, hiking, by a campfire, on the porch at night in each other's arms in a hammock, sitting by a lake.)

 

 

EXT. DAY / NIGHT

 

(Then shots of the two of them at the beach, swimming, building a sand castle, dancing at a beach party, riding on a boat.)

 

(The credits roll to one side as the montage shots continue.)

 

INT. DAY

 

(Dana at her office working on drawings.)

 

EXT. DAY

 

(Dana and Regan biking.)

 

INT. EVENING

 

(Regan in her home office working and Dana bringing in a cup of tea.)

 

INT. DAY

 

(Regan on her cell in a taxi, Dana on her cell in a store (they are talking to each other.)

 

INT. NIGHT

 

(Henry and Taylor with Dana and Regan out at a club dancing.)

 

INT. DAY

 

(Amy interrupting Dana and Regan kissing in Dana's office to make Dana work.)

 

EXT. DAY

 

(A moving truck at Regan's and everyone helping Dana move in.)

 

INT. NIGHT

 

(Regan and Dana out to dinner with Phillip laughing and having a good time.)

 

INT DAY

 

(Dana trying to work and Henry is trying to distract her she finally gives up and chases him out of the office down the hall and out the front door.)

 

 

INT. SAME DAY

 

(Amy watching the two of them run by and rolls her eyes and goes back to work.)

 

EXT. SUNSET

 

(The final shot after the credits have ended, Dana is in her tree looking out with a serene but searching look on her face, slowly Regan's head enters the frame and we pull back to show them both in the tree sitting together, Dana smiles at Regan and they both look out happy.)

 

 

THE END

 

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