SWEET NOVEMBER - Daily Script

Rev. 5/09/00 (Buff)Rev. 5/11/00 (Salmon)Rev. 5/18/00 (Cherry)Rev. 5/30/00 (Tan)Rev. 6/01/00 (White)Rev. 6/05/00 (Blue)Rev. 6/12/00 (Pink)SWEET NOVEMBERbyKurt VoelkerBased on the screenplay "Sweet November"byHerman RaucherRevisions by Becky JohnstonSHOOTING DRAFTJune 12, 2000

4/5/00FADE IN:1 EXT. SAN FRANCISCO - DAY 1OPENING CREDITS and MUSIC play as dawn breaks over thecity by the bay. Sounds of intense SEXUAL EXERTION FADEUP.2 INT. NELSON'S APARTMENT - BEDROOM - DAY 2In what is more workout than lovemaking, NELSON MOSS (36)thrusts vigorously into ANGELICA (32), lying spreadeagledon her back. An ALARM goes off, and on cue,Nelson climaxes. OPENING CREDITS and MUSIC FADE OUT.Finished, Nelson hops to his feet on his way...NELSONThat was good...Ambivalent, Angelica watches as Nelson enters thebathroom.NELSONTop dog, big dog, bad dog...3 INT. NELSON'S APARTMENT - BATHROOM - DAY 3Nelson showers.NELSONWho's the best dog? It's my dog.4 INT. NELSON'S APARTMENT - BEDROOM - DAY 4Towel-wrapped, Nelson keeps talking as he crosses theroom.NELSONIt's the big, bad dog.Angelica pulls on her underwear as she watches Nelsonexit.5 INT. NELSON'S APARTMENT - LIVING AREA - DAY 5The penthouse is orderly and stark. Entering, Nelsongrabs an incoming fax, turns on a coffeemaker and picksup a remote control. Ignoring a stunning view of thecity, he closes the blinds and turns ON FIVE TELEVISIONS.

4/5/00 2.6 INT. NELSON'S APARTMENT - BEDROOM - DAY 6Fax in hand, Nelson speed-dials on a cell phone as hepasses Angelica. Entering a walk-in closet, he dressesin a hurry.NELSONNumber one dog, dog at the top --ANGELICASlow down. We need to talk.Vince?NELSONVINCE (V.O.)(over phone)How about those Vitagirl numbers?NELSON(into phone)Yeah, looking good.(to Angelica, fakeinnocent)Talk about what?He sees the look on her face, turns his head, rolls hiseyes and mouths "us" as she says:Us.ANGELICAHe mouths "shit," then turns to flash her a reassuringsmile, holding up a finger to wait as he finishes hiscall.VINCE (V.O.)We're T-minus 72 hours from fastfood fame or oblivion. Ready tosign off on this copy?Nelson makes an apologetic face to Angelica, uses work toavoid dealing with her, hurries into the living room.NELSONAlmost. Meet you in twenty.7 INT. NELSON'S APARTMENT - LIVING AREA - DAY 7He hangs up the phone, and takes a deep breath. He is ina state of extremely jangled nerves. He pours a giantcoffee, praying Angelica will stay in the bedroom as hechannel-surfs on all five TVs, stopping on a hot dogcommercial.(CONTINUED)

4/5/00 4.8 CONTINUED: 8NELSONYeah, and I'm late for mine.He rushes out, the door slamming shut behind him.9 INT. ELEVATOR - DAY 9Sleepy Madison Avenue types surround Nelson, wide awakeas he talks on his cell phone.NELSON-- Look, I'm not sure I like thetagline anymore, it's working toohard, needs to be deadpan. Iwanna play with it for a fewhours --VINCE (V.O.)(over phone)Cut it out, man, copy's good.Apply the 'If it ain't broke'rule.10 INT. JABE & DUNNE - DAY 10The elevator opens onto an advertising agency, abuzz withactivity. Nelson is met by VINCE HOLLAND (36). Walkingside-by-side, both men continue talking into theirphones.NELSON(over phone)That rule applies to mediocrity.We want perfection.VINCE(over phone)What we want is a check, Nelson.And bonuses. And promotions.You worry too much.NELSONI worry because worrying aboutlosing keeps you winning.Suddenly aware of themselves, they pocket their phones asan OFFICE MANAGER hands Nelson an advertising award.OFFICE MANAGERCongrats, Nelson. You got the AdAge for the Pelican spot.(CONTINUED)

4/5/00 5.10 CONTINUED: 10Unimpressed, Nelson starts to hand the award to hissecretary, BEATRICE (23) -- when Vince plucks it away.VINCEYou'll hide it like all theothers. Whereas I'll take it andput it where it belongs. Over mybed.Nelson picks up a stack of trades as he blows byBeatrice's desk on the way into his office. Vincefollows him in.BEATRICEGood morning, Mr. Moss. Vince.Greeting her, Nelson ignores Beatrice. Vince flirts.NELSON AND VINCEMorning, Beatrice.11 INT. JABE AND DUNNE - NELSON'S OFFICE - DAY 11A temple of California corporate cool, the place lookslike a hip playpen for a kid who never grew up.Nelson immediately settles down to work, furiously typingnew copy into his computer as Vince nervously peers overhis shoulder to observe the changes, wants to distracthim, change subject.VINCEHey, did you hear? Edgar Price iscoming out of retirement. Sayseverybody's ripping him off; mightas well get back in the game andrip himself off.NELSONEdgar Price, huh? He's great.VINCERemember that Mercedes spot hedid... a trillion years ago?(folds hands togetheras if in prayer)Genius.NELSONYeah, well maybe a trillion yearsfrom now some guy will say thesame about you. If you get offyour butt and work on this tag.(CONTINUED)

4/5/00 6.11 CONTINUED: 11The door opens and their boss, RAEFORD DUNNE, pokes hishead in. He is as anxious as Vince and Nelson about thisaccount.DUNNEHow's my dream team? Got itlocked up?NELSONSure, chief. Just finessingsome --VINCEMinor details. Minor.11A INT. JABE AND DUNNE - ART DEPARTMENT - DAY 11ANelson and Vince are walking into an art department.VINCECan't wait to show you theseboards -- I mean, they came outgreat, perfect. The best workI've ever done -- of course withyour help --(pauses)Client's gonna love 'em.By now they are inside the room and Nelson is quicklysurveying a set of storyboards which we don't see. Hejabs a finger as he indicates each one, all business.NELSONMake this night.Nelson --VINCENELSONGive me a bonfire.VINCENelson, stop --NELSONMake this three quarter.(points to anotherboard)Nastier. Give me more cleavage,more dogs --VINCENelly -- stop, stop, stop!(CONTINUED)

4/5/00 7.11A CONTINUED: 11AJust then, Beatrice enters the room, relieved to findNelson there.BEATRICEThere you are. Did you forgetyour one o'clock at the D.M.V.?NELSONSort of. Reschedule.BEATRICEThe deadline to renew is today.NELSONSo let it expire.BEATRICEIt was expired when you got theticket. That's why you have to go.NELSONBeatrice, I don't have time forthis. Wait till thepresentation's over...BEATRICEIf you don't renew today, they'llsuspend your license, which meansthe next time you get pulled over,they can throw you in jail. And Ibet you don't have time for that,either.A hush falls over the room.VINCENobody beats the D.M.V., Nels.Not even you.12 INT. DMV - DAY 12Nelson is in hell. The "appointments" line is endless,and a BABY behind him is SCREAMING. Checking his watch,Nelson is scribbling more copy in a notebook as theBABY'S PITCH climbs HIGHER.13 INT. DMV - TEST ROOM - DAY 13Annoyed beyond belief, Nelson waits as a PROCTOR passesout tests to a room full of random San Franciscans.(CONTINUED)

4/5/00 8.13 CONTINUED: 13PROCTORThere'll be no talking, eating,ordrinking. If your personalhygiene becomes a distraction,you will be asked to leave --Running late, SARA (25), stumbles into the room. At thesame time, the paper bag in her arms ruptures, spilling amotley assortment of groceries. She gets down on herhands and knees starts picking them up, reaches for asalami log under Nelson's chair...PROCTORIf you need to go to the bathroom,raise your hand.SARACan you just pass me theColumbo...The...?NELSONSARAThe salami... under your chair.PROCTORYou cannot take the test in thebathroom.Nelson reaches for the salami, hands it to her.Here you go.NELSONPROCTORIf you do not come back from thebathroom, you cannot pass thetest.During this, Sara has taken a seat next to Nelson.PROCTORYou may begin.14 INT. DMV - TEST ROOM - DAY (LATER) 14Halfway through the test, Nelson is beginning to fray.NELSONFalling rock zone... Christ.(CONTINUED)

4/5/00 9.14 CONTINUED: 14Nelson's eyes wander over to Sarah's test.Hey. Psst.NELSONSara gives him a "cut it out" look and returns to hertest.NELSONNumber nine. True or false?SARAWhat? You wonder why? What?PROCTORExcuse me! Bring your testforward!Nelson hunkers down.Me?Yes, you.SARAPROCTORSARABut I was just trying to tell himto stop...She's too ethical to rat, too annoyed to let him off thehook.SARA... talking to me.PROCTORBring your test forward!Sara reluctantly approaches the Proctor, who takes hertest.PROCTORYou may retake the test in 30days.SARAWhat?! 30 days! That's a longtime -- that's so unfair! Iwasn't doing anything --The immovable Proctor grimly shakes his head, points todoor. Steaming, Sara returns to her desk. Gathering herthings, she glares balefully at Nelson, who pretends notto notice.

4/5/00 10.15 EXT. DMV - DAY 15Nelson, talking on his phone, emerges from the DMV.NELSONNelson Moss for Vince. Did Rubintweak the music?VINCE (V.O.)No, he said it's fine.NELSONCut him. Get Johnson McDonald,give him the sample, he'll knowwhat I want.Just then he notices Sara sitting on the hood of his brandnew Mercedes, she gives him a jaunty wave.SARAHow'd the test go? Hope youpassed.He ignores her for a moment, something has caught his eye-- a beaten-up van with yapping dogs painted on it andthe words: 'BARKING MAD DOG GROOMERS AND DAY CARE.Sanity in a dog-eat-dog world.' It is parked next to hisMercedes.NELSON(into phone)Hey, Vince, what about this?'Barking mad for Doctor Diggety.Sanity in a dog-eat-dog world.'VINCE (V.O.)(over phone)Now I know you've lost your mind.SARACongratulations, you can read.She keeps sitting on his hood, staring at him.NELSON(to Vince)Call you back.He hangs up. Slowly walks over to her, not thrilledthat she's sitting on his car.NELSONCan I help you?SARACan you help me?(CONTINUED)

4/5/00 11.15 CONTINUED: 15Yeah.NELSONShe keeps staring, says nothing. He feels pinned by hergaze, peers around, then points to her van.NELSONOh -- that must be your van.SARAThis must be your car.NELSONAnd you can't drive? Right,right. This is how you make --He reaches for his wallet.NELSONOh, shit, right. Well, how much doyou make? Doesn't look like much.I'll cover your expenses --(reaches for money,decides against it,pulls out businesscard instead)Here, call my secretary, she'lltake care of it --She takes the card, peers quizzically at it.SARAIs this quest for redemptioncoming from true remorse, or areyou just worried that my sittingon your car will leave a big dent?NELSONThe dent, I guess.SARAThat's what I thought.There's a flicker of recognition in her eyes, as if shehas confirmed something in her own mind. He gestures toher -- get up. She doesn't budge. Annoyed, he reachesin his wallet and shoves a hundred dollar bill at her.SARAWhat are you doing?NELSONBuying redemption.(CONTINUED)

4/5/00 12.15 CONTINUED: (2) 15SARA(refuses money)Oh, redemption's not for saletoday.NELSONOkay, I guess I'm going to hell.Get off my car.Stunned, she gets off his CAR as he scrambles inside andROARS out of the lot.16 INT. NELSON'S APARTMENT - NIGHT 16Nelson works out at an intense pace on an treadmill ashe watches all five TV's. Other than shelves of glassvases and ceramics, the only other decor is a fish tankoccupied by a lone fish. The MICROWAVE BEEPS, Nelsonjumps off mumbling:NELSONWhat is it? It's a hot dog. It'sa hot dog. It's a...Opening the oven, he grabs a hot dog, nearly burns hishand.NELSONIt's a hot dog.(eureka)That's right! It's a hot dog!It's a hot dog!He cuts it and jabs a piece on a fork, just as the INTERCOMBUZZES. As he speaks he stares at the hot dog on fork.Yeah?NELSONMANNY (V.O.)(over intercom)Mr. Moss, this is Manny downstairs,I gotta bit of a situation here. Acertain lady, she says...(whispers,embarrassed)Some very strange and personalthings about you.Nelson still stares at the hot dog on fork, transfixed.(CONTINUED)

4/5/00 13.16 CONTINUED: 16SARA (V.O.)(over intercom)Give me that thing.MANNY(over intercom)Miss, you can't do --Nelson hears SCUFFLING sounds filter over the INTERCOM.Then Sara's voice wafts up, honeyed and seductive.SARA (V.O.)Hey, big spender, come down here.I can't stop thinking about you.Nelson's bewildered, and intrigued. Checks his watch,mutters:NELSONTen minutes.(presses "talk")Okay. Be right down.As he walks away, he takes a bite of the hot dog on forkand nearly gags before spitting it out.17 INT. NELSON'S BUILDING - LOBBY - DUSK 17In sweats, Nelson comes out of the elevator. Sara is busylistening to a besotted MANNY tell her his whole lifestory.MANNY-- And then my ex-wife, she sayyou can't fix nothing, Manny, andshe leaves me for plumber --Sara finally notices Nelson approaching, flashes a smile.SARALook at that, Manny. My very ownPrince Charming.(to Nelson)I don't think I've ever met such aroyal asshole in my whole life.Nelson stops in his tracks, staggered. She is off on atoot.(CONTINUED)

4/5/00 14.17 CONTINUED: 17SARADoes your mother know you treatwomen like hookers? Or did sheraise you to think being nicemeans patronizing the wholeworld?MANNYUh-oh. I smell a problem.Nelson grabs Sara by the arm, whisks her outside.18 EXT. NELSON'S BUILDING - DUSK 18Nelson and Sara face off in the street.NELSONHow did you find me?She holds up the business card he gave her.SARAI'm smart.(pauses)And I need a ride.NELSONThis is a joke, right?(as she shakes herhead)You want a ride -- from me?SARAYep. Face it, it's your fault Ican't drive. The least you cando is schlep me somewhere. It'squick, painless --NELSONI am not a schlepper.Manny knocks on the glass from the inside and holds up ahandwritten sign that reads, "You want me call police?"Nelson shakes his head. Turns back to Sara.NELSONBeen a ball, but some of us haveto work.SARADon't make me go too far.(CONTINUED)

4/5/00 15.18 CONTINUED: 18He makes a gesture, cutting her off, heads toward theentrance, Sara stops a clean-cut couple entering thebuilding.SARAMaybe you can help? This man --he's your neighbor, right -- hasbeen standing naked in his windowflashing his ass at me and I wanthim to stop --NELSONIgnore her, please.As the flustered couple scurries inside, Sara stops ayoung woman on her way out.SARAHi, how are you? We've got a caseof vodka and a bathtub full offudge upstairs, would you like tojoin us?NELSONStop it or I'll call the police.SARAGreat. Go ahead. I love thepolice.NELSONDo you have any shame at all?(pauses)No.19 INT. MERCEDES - NIGHT 19The picture of displeasure, Nelson drives. Sara checksout the luxe car, the leather, the lights on dash. Notimpressed.SARABy the way, my name's Sara Deever.(points)Okay, get in the right lane, putyour turn signal on --NELSONI know how to drive!SARAYou want to take the 80 toOakland --(CONTINUED)

4/5/00 16.19 CONTINUED: 19NELSONOakland? You said this would bequick.SARAI said it would be painless, too.Then, she flashes a warm, disarming smile, full ofcharm -- completely throwing him yet again.SARAIt's so nice of you to do this forme, Nelson. Sorry if I went toofar, but I really did need theride.20 EXT. OAKLAND - NIGHT 20In the midst of an industrial district, the Mercedespulls up near a nondescript building.21 INT. MERCEDES - NIGHT 21Sara pulls a flaming red wig out of her bag and puts iton. Nelson is not amused.NELSONHa-ha. What do you plan to dowith that?SARACommit a heinous crime. You'llwait, won't you?Sara snatches the keys out of the ignition.SARAOf course you will.She climbs out. Nelson bangs his head against thesteering wheel.NELSONWhat am I doing?22 EXT. OAKLAND - NIGHT 22Sara approaches the building. She goes in. Momentslater, an ALARM BLARES.

4/5/00 17.23 INT. MERCEDES - NIGHT 23The ALARM CLANGING, Nelson is frozen, completelyterrified, realizing this could be far more serious thanhe imagined.24 EXT. OAKLAND - NIGHT 24Carrying lumpy sacks, Sara flees the building.25 INT. MERCEDES - NIGHT 25Sara jumps in and jams the keys in the ignition.Go! Go! Go!SARANelson is so frightened, he obeys her and FIRES UP theCAR.26 EXT. OAKLAND - NIGHT 26Nelson's CAR SCREECHES into motion.27 INT. MERCEDES - NIGHT 27SARADon't you feel like Bonnie andClyde?NELSONThey got shot. Don't open it --I don't wanna know! This iscoercion -- entrapment!SARAWill you relax? They're just...To Nelson's amazement, Sara removes two squirming JackRussell puppies from the bag.SARA... some fine furry friends.(kisses puppies)Somebody was gonna slice open yourlittle heads and do nasty experimentson your brains, weren't they?She lets them go as the car stops for a light. Nelsonlashes out, furious.(CONTINUED)

4/5/00 18.27 CONTINUED: 27NELSONOff the leather, off the leather!(trying to composehimself)Let me get this straight. Youhumiliated me, harassed andexploited me -- just so -- I couldhelp you in some cute save-thepuppycaper? Off the leather!SARANot cool enough for you? Betterif we whacked a few people whilewe were at it?(points to trafficlight)You can go on green in California.27A EXT. OAKLAND STREET - NIGHT 27AThe MERCEDES swerves and SCREECHES as Nelson is assaultedby the slobbering pups.27B OMITTED 27B&&27C27C28 EXT. GAS STATION - NIGHT 28The puppies tumble on the ground, Sara crouched on herknees plays with them as Nelson fills his tank with gas.Down the street he sees a police car scanning the block,its searchlight raking the buildings. His eyes light up.NELSONGet ready to go to jail, SaraDeever.SARAYou're not gonna tell them.The car is coming closer, Nelson nods, excited.NELSONOh yeah. Everything.SARA(holds her ground)Oh no, you won't, I have a hunchabout you.(CONTINUED)

4/5/00 19.28 CONTINUED: 28The car reaches them; as it glides past, Nelson meeklyraises his hand to wave, furious that he has capitulatedagain.SARASee? I knew you weren't as hardballas you act.Stone-faced, Nelson admits nothing. Keeps pumping gas.SARAHey, I have an idea. Let's takethem back to my place and givethem names --NELSONSounds like a million laughs, butI gotta work.SARAWhat kind of work?Advertising.NELSONSARAOh, you mean you convince peoplethey need something completelyinessential and blight thelandscape in the process.NELSONBingo! That's me!SARAIs it fun? Do you enjoy it?NELSONPeople tend to enjoy what they'rereally good at.SARASo the answer is -- yes? You do.But does it make you happy?NELSONEveryone knows happiness is amyth, an extremely powerfulmyth --Sara's laugh starts as a snicker, builds to a full-blownhowl.(CONTINUED)

4/5/00 20.28 CONTINUED: (2) 28SARA-- Created by advertisers!Exactly.NELSONSARASo what else makes you miserable,besides your job?Nelson doesn't answer.SARAWhat do you do for fun?He doesn't answer, but she acts as if they are conversing.SARAI didn't think so. No hobbies,diversions, kinky obsessions?(as he doesn'tanswer)I was afraid of that. Whatabout --Nelson rams the nozzle back into the pump.NELSONJust get in the car.29 EXT. SARA'S BUILDING - NIGHT 29The Mercedes pulls up to the curb.30 INT. MERCEDES - NIGHT 30SARAWould you like to come up for acup of cocoa?NELSONAs scintillating as the evening'sbeen, I'm afraid not.Sara is undeniably sincere and sexy, and even Nelson can'thelp but be tempted just a little.SARAI'll make a deal with you. Comeup for one cup, and I'll neverask you for another ride for aslong as I live.(CONTINUED)

4/5/00 21.30 CONTINUED: 30No thanks.NELSONSARAOkay. See you tomorrow then.Sara starts to get out, but Nelson stops her.NELSONWhoa, whoa, whoa -- hold on.SARAIs eight o'clock good? You, me,Manny the doorman, that wholething?31 INT. SARA'S LOFT - NIGHT 31Deliberately chaotic, Sara's loft includes the fire polefrom the old station and plants galore. As the puppiescarouse in a pen, Sara sets two teacups on the kitchentable, where Nelson is sitting, aware of the fact thatshe is openly checking him out. He tries to strike anonchalant pose.SARAI can help you, Nelson. I have agift. A special ability to helpmen with... problems.Thinking this is a seduction tactic, he plays along.NELSONI don't have problems.SARAThat's usually the first sign.Nelson groans as she sits down across from him, deadserious.Of what?NELSONSARADenial. I think you work toomuch.NELSONRight. What do you know aboutwork?(CONTINUED)

4/5/00 22.31 CONTINUED: 31SARAPlenty. You admitted you donothing else, and it doesn't makeyou happy. How's that for screwylogic?NELSONI admitted nothing. I was silent.SARANo special interests. No pets.You hate dogs --NELSONBusted! Actually, I do have apet. A fish. Oscar.SARACold-blooded doesn't count.You're a walking case study:we've got anger, stress,repression, extreme distraction,egocentricity, and controlfreakism --NELSONControl freakism is not a word --SARALook at you, you're a workaholicin such an advanced stage that allyour intimacy skills have witheredaway to almost nothing. Leftuntreated, Nelson, you couldbecome emotionally extinct.Nelson rolls his eyes and drinks his cocoa, checking outher messy loft with a wary look, thinking who is thisfreak?NELSONOut of sheer, perverse curiosity,how does a lunatic like you help aguy like me?SARAYou live in a box. I could openthe lid, let some light in.NELSONWow that's deep. I feel curedalready, just hearing about it.(CONTINUED)

4/5/00 23.31 CONTINUED: (2) 31Sara nods.Nelson gets up.SARA(ignores him)If you want my help, it'll requirea commitment on your part. You'llhave to live here with me for onemonth, no more, no less, no workallowed.NELSONYou don't even know me, andyou're inviting me to move inwith you?NELSONHow's my girlfriend supposed tofeel about that?SARAYou don't have a girlfriend. Imean, you can feel it... there'ssomething intimate a woman leaveson a man. You don't have that.NELSONHer name's Angelica.SARAWell you know what? I feel sorryfor Angelica.NELSONGreat, I'll relay that to herwhen I leave. Which is rightabout now --SARAOctober's almost over. We canstart midnight on the first ofNovember. If you're brave enoughto commit, I will devote myselfentirely to you.NELSONBrave enough, but not stupidenough.(pause)Now listen up, moonbeam. Here'show it works. No more harassment,no more rides, no more extortion.(MORE)(CONTINUED)

4/5/00 24.31 CONTINUED: (3) 31NELSON (CONT'D)Next time you come to my building,I really will call the cops.Bye-bye.He leaves. Frowning, Sara reflects on her failedproposal.32 INT. JABE AND DUNNE - CONFERENCE ROOM - DAY 32At the end of a long table, Raeford Dunne sits next toBUDDY LEACH (65). Vince and agency staff fill one sideof the table. Leach and the Doctor Diggety brassoccupy the other. Leach's face does not betray oneemotion as he listens to Nelson's presentation.On the wall, white sheets of paper cover boards underneath.Nelson is at the top of his game, a consummate showman. Heis so amped up, he's practically throwing off sparks. Heholds up a board with an image on it -- a silly looking50's style hot dog cartoon figure -- Doctor Diggety.NELSONThis is your brand image, MisterLeach -- we polled your primarydemographic and you know whateighty-nine percent said:boring. Safe. We need to dropa bomb.(dropping the board)We don't want hot dogs safe.(working up ahead of steam)What's in a hot dog? Don't tellme! I don't wanna know...He rips down a white sheet of paper to reveal an image ofa hot dog engulfed in flames: the hot dog from hell.NELSONThey're dangerous!(pauses)What are we selling here? We'reselling temptation -- desire --animal instincts -- gluttony --sin. We want to show man as hereally is... a savage... he needsfire, he needs food. He huntsand gathers, what does he get?(CONTINUED)

4/5/00 25.32 CONTINUED: 32Rips down another sheet of what looks like a cave mancooking hot dogs on a grill, his family of savageshuddled behind him.NELSONHe gets a hot dog!(pauses)We're pagans, we love our rituals-- our team hits the ball out ofthe park, we're screaming, we'reinsane. What do we want?Rips down another sheet of a crowd at baseball game pitchedforward screaming like monsters, all holding hot dogs.NELSONWe want a hot dog!(pauses)Let's go straight to your pre-teendemographic. Kids. The littleangels. They're not angels.They're monsters. You give thema tuna sandwich. They don't wanta tuna sandwich...(rips down anothersheet)They want a hot dog!Board showing a little boy glumly holding up a tunasandwich and an apple, lusting after the hot dog in thehands of a cute girl next to him. Nelson rushes over toanother sheet.NELSONWe need women. We've got themothers, we need their daughters.Let's answer that age old question-- what does a woman really want?You know. I know --(rips sheet exposinganother board)She wants a hot dog!He is like some rabid animal, all fired up.NELSONWe're hot blooded -- we need sex.We need a sinful, dangerous food.What is it?(rips another sheet)It's a hot dog! It's a hot dog!(CONTINUED)

4/5/00 26.32 CONTINUED: (2) 32He goes to the last sheet and rips it down. A pictureof a total babe in devil costume, all bright reds andcleavage, holding a pitchfork, a hot dog impaled on theprong. The gates of hell sizzling overhead. The words:"DOCTOR DIGGETY. IT'S A HOT DOG" at bottom. Nelsonpauses for dramatic effect.NELSONDoctor Diggety. It's a hot dog.There is a long pause as Nelson catches his breath andeveryone in the room turns to Leach to hear his reaction.No.MR. LEACHNELSON(taken aback)No. What do you mean?MR. LEACHIt's not for us. You don'tunderstand our company.NELSONI don't understand? What did youask for? Edge.(points)This is edge.Not even willing to deal with Nelson, Leach turns toRaeford Dunne, as he prepares to leave.MR. LEACHWe'll be going with Baker, Bohanen.He gestures to his team, they rise, start to leave.Nelson starts to snap.NELSONExcuse me. I think you're makinga big mistake.Nelson --DUNNENelson grabs a sales chart, holds it up.NELSONI've seen your sales. You're introuble.(CONTINUED)

4/5/00 27.32 CONTINUED: (3) 32MR. LEACH(proudly)No. We are America's favoritehot dog, son.He keeps moving toward the door, and Nelson finally snaps.NELSONWere. You're a dinosaur. You'reflatlining. You're dead meat.MR. LEACH(spins around,furious)You just went too far, you littlepunk. I'm gonna tell you what Ireally think of your campaign.It's cheap, tasteless crap.NELSONWell that's funny, 'cause so isyour product.DUNNENelson, stop it --MR. LEACHI sell a wholesome hot dog, youprick --NELSONIt's mystery meat!DUNNENelson, I'm warning you --As Leach's minions hustle him out of the room, Vince andtwo other ad guys hold Nelson back. He shouts to Leach'sdeparting figure.NELSONIt's toxic waste in a tube!You're killing me! You'rekilling us!33 INT. JABE AND DUNNE - DUNNE'S OFFICE - DAY 33Dunne storms in, followed quickly by Nelson.DUNNEWhat the hell happened in there?(CONTINUED)

4/5/00 29.33 CONTINUED: (2) 33NELSONAre you threatening me?(laughs manically)That's hilarious. I'm two Cliosahead of the game, Ray, you can'tafford to lose me --You're fired.DUNNEThere's a dead silence for a few beats.NELSONSay that again, I don't think Iheard you.DUNNEI said you're fired!34 INT. JABE AND DUNNE - LOBBY - DAY 34Nelson hurtles through the lobby. Elevator doors open,Vince charges out. THROUGH plate glass window, seesNelson outside.VINCENels! Nelson, wait!35 OMITTED 3536 INT. NELSON'S APARTMENT BUILDING - HALLWAY - DUSK 36Nelson tries to unlock his door, his hands are shaking sobadly he fumbles with the key, labors to breathe.37 INT. NELSON'S APARTMENT - DUSK 37The door opens and Nelson enters, instantly deflating.He's very relieved to find Angelica emerging from thebedroom.NELSONGod, am I glad to see you.You are?ANGELICAHe notices she is carrying an overnight bag. She mustersher strength, mind made up.(CONTINUED)

4/5/00 30.37 CONTINUED: 37ANGELICANo muss, no fuss. Let's try to dothis with a little dignity, shallwe?She crosses toward the door, past him. He is shocked.NELSONThis is not a good time for this,Angelica.ANGELICAHard to believe but it's not yourcall, Nelson. I just finallyrealized... I can't stayinvolved with a man who doesn'teven know he's not involved.(awkwardly)So I guess this non-relationshipis officially a non-relationship.All her efforts to be cool are cracking. She looks away,pushing the corners of her eyes, trying to stop a tear.ANGELICAI tried to get close to you. Idid.NELSON(panicking)Wait -- please -- whatever I did --or said, I didn't mean, I'll bebetter --She knows he's lying, that's even more humiliating toher.NELSONPlease -- don't go.ANGELICAI'm not staying just because youdon't want to be alone.She exits, leaving Nelson alone in the silent penthouse.He approaches his display of glass and ceramics andstares at them blankly. Then, with a sudden, violentswipe, Nelson sends the entire collection crashing.Someone KNOCKS on the door.MANNY (O.S.)Mr. Moss? You okay?(CONTINUED)

4/5/00 32.39 CONTINUED: 39NELSONYou're a delivery service. Youdeliver things.(to dog)Stop it! Shut up!DISPATCHER (V.O.)Not live animals, sir. Toodangerous.NELSONSo what you're saying is, if Ikill the dog, you'll take it.DISPATCHER (V.O.)Please don't kill the dog, sir.Nelson slams the phone down and watches in horror as theBARKING PUPPY lifts a leg and pees all over the carpet.40 EXT. NELSON'S BUILDING - NIGHT 40Holding the box, Nelson leans over to talk to a CABBY.NELSONI have an unusual request. But Iwill pay you two hundred dollars.CABBYGet lost, you sick son-of-a-bitch.As the CAB SCREECHES away, Nelson becomes unhinged.Starts howling in rage. Inside the box, the PUPPY BARKSin unison.41 INT. SARA'S LOFT - NIGHT 41CHURCH BELLS RING at the stroke of midnight as Sara packsa trunk. Seeing beyond the area from night before -- theloft includes an office cluster and a large bed. A keyturns in the door. The door swings open. Nelson standsthere looking like a disheveled madman. He carries thebox over to Sara.NELSONDo me a favor. Stay out of mylife. Good-bye.She removes the puppy from the box, kisses it, thenflashes one of her winning, adorable smiles.(CONTINUED)

4/5/00 33.41 CONTINUED: 41SARADid you think about my offer?NELSONThe last thing I feel like doingright now is playing the SaraDeever Mad Hatter Game.He puts the box down and moves towards the door.What happened to your hand?SARANothing.NELSONSARAMay I look at it?Why?NELSONErnie has exhausted himself, collapses on the floor.SARABecause I'm a vampire. I knowsome things about first aid.Nelson warily allows her to examine his hand.NELSONWhat are you after? What do youwant from me?She leads him to the bathroom as he studies hersuspiciously.42 INT. BATHROOM - NIGHT 42Sara treats Nelson's hand.SARASo what'd you do today?NELSONWhat'd I do today?(pauses)I got fired.(pauses)They took the company car.(pauses)And my girlfriend left me.(CONTINUED)

4/5/00 34.42 CONTINUED: 42Perfect.SARANELSONDefine 'perfect.'SARAIt's November first. Our monthto be together.NELSONYou're actually serious aboutthis, aren't you?Very.SARANELSONYou think I'm just gonna dropeverything --SARASounds like you already have.NELSON-- Live here, and let you messwith my head for a whole month?SARAI wouldn't put it that way, butyeah, that's what you should do.Sara removes her sweater, revealing a very persuasiveundershirt, and then returns to working on his hand.NELSONSo this... whatever you callit --Help.SARASara stands and starts unbuttoning Nelson's shirt.NELSONWhat are you doing?SARATaking your shirt off.Why?NELSON(CONTINUED)

4/5/00 35.42 CONTINUED: (2) 42SARASo you can clean up.Why?NELSONOut in the open now, the sexual tension between themintensifies.SARABecause you smell like puppy piss.Sara takes the shirt to the kitchen.43 INT. SARA'S LOFT - BATHROOM - NIGHT (LATER) 43Shirtless, Nelson seems bewildered, can't decide whetherto wash up or get out of there -- he catches hisreflection in the mirror, studies it for an answer,mutters:NELSONJust for the night.He turns on the water, leans down to wash his face.44 INT. SARA'S LOFT - NIGHT 44Sara sprays the shirt with detergent.She crosses the last day of October off a large wallcalendar and then tears the month away, revealingNovember.45 OMITTED 4546 INT. SARA'S LOFT - NIGHT 46Cleaned up, Nelson comes from the bathroom, Sara bringshim the shirt. Nelson sniffs it and puts it on. Theymove closer.They kiss. Channeling his desperation, Nelson lifts heronto the bed, spins her down and pulls at her clothes.SARAWait, Nelson, stop... stop.Sara pushes him back.(CONTINUED)

4/5/00 36.46 CONTINUED: 46What?NELSONSARALook at me. Gently. Slowly.He starts in just as aggressively, and again she stopshim.SARANelson, what are you doing?NELSONWhat does it look like I'm doing?SARAJust take it easy. It doesn'thave to be like this. We've gotall night.He stares at her for a long moment and then pulls away.NELSONTo hell with the whole goddamnthing.Nelson yanks on his clothes.47 EXT. SARA'S BUILDING - NIGHT 47Pouring rain. Wearing his suit with no shirt, Nelsonstorms out the door. Sara follows pulling her sweateron.SARANelson, wait a second! Would youstop for one second?He keeps going. A few pedestrians gawk, but most keepgoing.Nelson pulls Sara aside.NELSONI have no words to describe howtotally whacked you are!SARAWhat are you so pissed off about?!(CONTINUED)

4/5/00 37.47 CONTINUED: 47NELSONThis has been the day from hell,and the absolute last thing I needis you telling me what to do inthe sack!SARAPlease come back. I won't tellyou what to do. We don't evenhave to do anything. Just don'tgo.For a moment, Nelson's guard drops and his face betrayshow weary and shattered he is by the events of the day.She slips inside the opening in the crack.SARATell me what you want me to do,Nelson, and I'll do it. Tell me.48 INT. SARA'S LOFT - NIGHT 48Sitting on the bed, Nelson stares intently at Sara,standing in front of him.NELSONTake that off.Sara pulls her sweater over her head, revealing the samepersuasive undershirt he saw earlier.That, too.NELSONSara removes her shirt. Exposed, she waits for Nelson tomake the next move. Gently, he kisses her stomach. Ashe slowly works his way upward, a swooning Sara growsincreasingly breathless.SARAWould you like to be my November,Nelson?Yes.NELSONFinally letting go, they meet in a deep, sensuous kiss.49 EXT. SAN FRANCISCO - DAWN 49Daylight returns to the hectic city.

SWEET NOVEMBER - Rev. 5/11/00 38.50 INT. SARA'S LOFT - DAY 50Alone in bed, Nelson is sound asleep, jerks bolt uprightscreaming -- a cross-eyed cat is gnawing at his toes.He grabs the cat by the scruff of neck, ready to hurl it,then guiltily peeks to see if Sara's around, muttering:NELSONNice cat... nice kitty...Sara's gone. Nelson abruptly drops the cat -- it streaksacross the bed and barrels out to the living area whereit is attacked by Ernie, the puppy. Sounds of FURRYFIGHTING ensue.Nelson jumps out, throws on his boxers, momentarilypuzzled -- where's the rest of his clothes? Grabs hiscell phone and heads over to a TV set surrounded byplants and ferns. He tries to turn it on, it doesn'twork. Shrugging, Nelson lowers himself to the floor andbegins a practiced routine of situps as he punches anumber on the phone.51 INT. STARBUCKS - DAY 51Vince winks at the CUTE CASHIER as he steps up to thefront of the line.VINCEDouble venti caffe latte and yourphone number.Vince's PHONE RINGS.CUTE CASHIER(ignoring the pass)Double venti caffe latte: 3.85.Wedging the phone between his ear and shoulder, Vincedigs cash out of his wallet.VINCENotorious Nelson! Holy Christman, I been trying to call you.What the hell is going on?INTERCUT BETWEEN Nelson and Vince.52 INT. SARA'S LOFT - NELSON - DAY 52exercising.(CONTINUED)

SWEET NOVEMBER - Rev. 5/11/00 39.52 CONTINUED: 52Edgar Price.Edgar Price?Edgar Price.NELSONVINCENELSONVINCEEdgar Price? Wha... Wha... Wha...NELSONCan you get us a meeting?You and me?VINCENELSONYou and me. Edgar Price's newcompany. Game?53 INT. STARBUCKS 53VINCEI will get us that meeting.Genuis. They stuck with me withthat knob, John Headley. I'mdying.54 INT. SARA'S LOFT - DAY 54Sara enters the loft.Gotta go.NELSONVINCEYou're a genius, Moss! Anyoneever tell you that?!Call me.NELSONHanging up, Nelson continues to exercise...(CONTINUED)

SWEET NOVEMBER - 5/9/00 39A.54 CONTINUED: (A1) 54SARAStop what you're doing right now!Why?NELSONShe reaches him, grabs the cell phone, swats him like ananny.SARABecause it's the same boring thingyou do every day and you can't dothat with me.NELSONRight.(points to TV)What's wrong with your TV? Itdoesn't work --SARAOf course it doesn't work, it'sa planter.(CONTINUED)

4/5/00 40.54 CONTINUED: 54NELSONRight.(pauses)Where are my clothes?Sara walks away, toward the kitchen.SARAI gave them away.You what --NELSONSARADon't worry, I got you these --She throws a pair of jeans and sweatshirt at him. Theinsane CAT streaks past, SCREECHING. Nelson almost tripson it.Sara grabs Ernie.SARAPoor Sasquatch. Catnip overdose.NELSON(holds up clothes)This is not 'helpful,' Sara.Give me my shirt and pants back.SARAClothes are clothes. All theydo is cover up a body.NELSONYeah, well, it's just that thisbody likes to be covered in itsown clothes.SARAErnie, you're gonna stay with mefor a while until I find you somedecent parents.(turns back toNelson)When do I get to meet yourparents?He stalks toward her, eyes burning.NELSONMy parents are dead.Sara sets Ernie on the floor.(CONTINUED)

4/5/00 41.54 CONTINUED: (2) 54I'm sorry.SARANELSONSara, I am not amused. I wantmy clothes back. Now.SARAI told you, I gave them away.I'll never lie to you.Too defeated to fight, Nelson throws on the jeans andsweatshirt. The jeans are about four inches too short.As he is getting dressed, CHAS (30) shambles through thedoor, looks exhausted.CHASI slept three hours last night.Tried valerian root, melatonin...(points to sweatshirton Nelson)Hey, that looks like mysweatshirt.Chas goes straight to the coffeemaker, pours a cup,kisses Sara.CHASYou know what finally put me tosleep? Jimmy Cagney. PublicEnemy. Violence as atranquilizer, how twisted isthat?Nelson staggers forward, too dazed to speak.CHASHello, you must be November.NELSONI must be November.SARAHis name is Nelson.CHAS(extends hand)I'm Chas. Keep the sweatshirt.It looks better on you.NELSONIs this some communal, culty,Squeaky and Charlie type of deal?(CONTINUED)

SWEET NOVEMBER - Rev. 4/28/00 42.54 CONTINUED: (3) 54CHAS(laughs)Funny. Much hipper than October.What a wanker.(checks his watch)Gotta go. See you around, Nelson.And just as quickly as he entered, he exits. As the doorshuts behind him, Nelson glares at Sara.NELSONI think I'll pull myself out ofmonthly rotation while I'm ahead.55 INT. LOFT BUILDING - STAIRCASE - DAY 55Nelson exits the loft, and Sara follows.SARA-- Nelson, I told you helping menis my gift.NELSONYou didn't tell me it was acottage industry. And who thehell was that, your pimp?SARAChas lives upstairs. We lookafter each other.NELSONIt doesn't seem like he needslooking after.SARAEveryone needs looking after,Nelson.56 EXT. SARA'S BUILDING - DAY 56On the street, they pass two old-guard bay area hippiesin their 60s -- husband and wife AL and OSIRIS. They'reunlocking the door to their bookstore, Christopher'sBooks, with pictures of Ginsberg and Ferlinghetti in thewindow.SARAHey, guys, this is Nelson.But Nelson's off, without saying a word to them. Sarabarrels after him.(CONTINUED)

4/5/00 44.56 CONTINUED: (2) 56SARANelson, this is a great kid,you've got to meet him. Abner.He wants to set a world record.What's today's project, Abner?ABNERStanding on one leg.(hands Nelson watch)Would you time me, I have tobreak the current record of300 hours.No.NELSONAbner does a head-to-toe on Nelson, doesn't like theattitude.ABNERNice pants -- expecting a flood?NELSONNice hat -- planning a bankrobbery?Bored with Nelson, Abner peels off in the otherdirection.SARAThat's pathetic -- you let aten-year-old wind you up?NELSONForget him, what's the deal withyou? You sleep with half thecity, get the whole neighborhoodinvolved?SARAWould you prefer I was a virgin?NELSONConsidering the alternative, yes.SARAThat tender tender male ego isbruised, isn't it?(sweetly, tenderly)I'm yours, Nelson Moss. Allyours.That sends alarms ringing in his confirmed bachelor'sbrain.(CONTINUED)

4/5/00 45.56 CONTINUED: (3) 56NELSONLook, Sara, you're great. You'rea very sexy, smart, interesting,somewhat unusual woman...She just looks at him so guilelessly, he fumbles.NELSONBut we... ah... don't know wherethis is... I always think it'sbest to clarify issues... thebeginning of... I'm not readyfor... I can't be your man-man...She starts to laugh so hard tears roll down her cheeks.SARAYou are the most egotisticallunkhead I've ever met!(settles down)It's one month, Nelson. Get it?Now he's insulted. And amazed. He's never been treatedthis way before. To save face, he acts tough.NELSONThe truth is, I don't have amonth. Time is money...SARAOkay. How long can you put yourbig fat lucrative career on holdto try this thing out? Wait aminute -- you're unemployed --NELSON(stung)You know, the more I think aboutit, this 'project' of yours feelslike an excuse to get laid.That hurts. She flushes, looks away. He feels bad,didn't expect her to react this way.NELSONI'm sorry, I didn't thinkyou'd...(gentler)I just don't understand why you'redoing this, is all.SARAI have my reasons.(CONTINUED)

4/5/00 46.56 CONTINUED: (4) 56She starts to walk. He comes abreast of her, chastened.NELSONStill friends?And like a brilliant emotional acrobat, she flips hermood back to lighthearted, done with consummate grace.SARAOnly if you give me what I want.What?Time.NELSONSARANELSONAll I can do is a day.57 EXT. PACIFIC HEIGHTS SOCIETY BUILDING - DAY 57Sara's Barking Mad Dog Day Care van is parked outside aritzy building.58 INT. SOCIETY LADY'S HOUSE - DAY 58Nelson stands stiffly behind Sara, who gesturesexpansively toward a rail-thin Nancy Kissinger-styleSOCIETY MATRON.SARA-- Nelson's helping me today. Heloves dogs.Sitting on the sofa, floor, chairs, posed like perfectlittle stuffed animals, are Society Lady's six beloveddogs. Immaculately groomed, heads daintily cocked, frontpaws folded over each other -- they are glaring coldly atNelson. Sara pats their heads as she clips leashes onthem.SARAAnd these are the best behaveddoggies in the whole wide world,aren't they? So elegant, sodignified. Just like their mommy.SOCIETY LADY (MATRON)(with supreme falsemodesty)I like to think so.

4/5/00 47.59 EXT. PARK - DAY 59Extremely put out, Nelson walks beside Sara -- each holdsthree dogs on leashes as they head up a path. The dogsdon't pull or tug, prance with military precision.NELSONAlways a thrill to explore newcareer possibilities. How much doyou charge for this?SARAI don't do it for the money.(shouts to dogs)Okay, guys, ready to be bad?All six tails begin to wag in furious unison.Incredulous, Nelson watches Sara unclip all thedogs from leashes and swat them on the rump.SARARaise some hell, fellas, and don'ttell Mommy!Suddenly, nothing short of pure canine bedlam isunleashed. The six prissy DOGS go insane -- race up thegreen, YIPPING and HOWLING, fighting with each other,rolling in the dirt, scrambling through mud puddles,BARKING at babies. Overjoyed, Sara runs with the pack,clapping her hands and shouting.SARABad dogs! Bad dogs! I'm so proudof you!Nelson rolls his eyes, checks his watch. Lurches backwhen a wet, muddy pooch shakes all over him.NELSONGet away from me!Another dog barrels up to Nelson. Desperate for a pet,the dog leaps up, licks and slobbers all over Nelson'shand.Disgusted, Nelson yanks his hand away. Sara shouts from fartheraway.SARABe nice to Winston -- he'sinsecure -- needs a lot ofaffection.NELSONI do not give affection to ahairy, dirty thing.(CONTINUED)

4/5/00 48.59 CONTINUED: 59Suddenly, Nelson is screaming. Winston has wrappedhimself around Nelson's leg and is feverishly humpingaway.NELSONGet him off me! I'm going tokill him!SARAWinston! That's enough! Comehere, boy!Winston comes running to her, throws himself on theground and lets her rub his back. Sara looks up to seeNelson storming off the green.60 EXT. VAN - IN PARK - DAY 60The van is parked near a hose. Nelson sits glumly indriver's seat. Outside, Sara hoses off all the filthydogs.61 INT. VAN - DAY 61Nelson checks his watch again. Peers at Sara in the sidemirror.NELSON'S POV - SIDE MIRRORShe is radiant, clearly gets so much genuine joy fromwhat she's doing, she couldn't look more beautiful.NELSONin van: stares, moved in spite of himself. Feels like ajerk for being so uptight. She comes to the window,breathless.SARALook at them -- aren't theyincredible?The dogs are soaking wet, shivering, waiting patientlyfor Sara to tell them what to do next.62 INT. VAN - LATER 62Trying to be a good sport, Nelson awkwardly helps Sara todry the dogs with hair driers. Winston starts to make amove toward Nelson.(CONTINUED)

4/5/00 49.62 CONTINUED: 62NELSONWinston. Stay away. You're notmy type.Sara smiles to herself, thrilled to see he's managed tobend, just this little bit.63 EXT. PARK - ICE CREAM STAND - DUSK/SUNSET 63Sara is licking an ice cream cone, counting money as shewaits for Nelson to make up his mind about his order.Her van is parked nearby.SARAThirty bucks, not bad for a fewhours work.Nelson's tempted to say something glib, but bites histongue. However, he can't help but register a look ofpity mixed with horror at how pathetic the earnings are.NELSONI'll go for the lemon sorbet.She almost chokes -- the look on her face is not unlikethe one he just made -- pure pity and horror.SARATell me something. When was thelast time you spent the whole dayoutdoors?NELSONI think... when my parentsdragged me to Alcatraz for theday, at the age of nine.He gets his sorbet and they start walking up the streettogether.NELSONNow you tell me something.Anything.SARANELSONWhat's so enlightening about whatwe did today?(MORE)(CONTINUED)

4/5/00 50.63 CONTINUED: 63NELSON (CONT'D)(as she peers athim, confused)Why is letting some dogs go wild abetter way to live than my way?Granted, it was mildly amusing,but I gotta tell you, my third eyedidn't open.SARAThese things take time. You don'thave time.NELSONNo, seriously, it's a question ofvalues. Why is doing somethingfundamentally trivial better thanliving a responsible life, boringas that might seem to you?She is silent, he presses on. His tone is gentle,slightly teasing, but there's real truth to what he says.NELSONAnd who made you the expert, thedoctor, the guru? Why do you haveall the answers?Still, she is silent. He teases her.NELSONCome on, show me your resume.Just then, they pass a three-sided bus stop with a big adfor "DIVINE PETS.NET -- America's favorite pet store."Sara points.SARAI used to own that company, DivinePets.Nelson cracks up, her timing as usual is brilliant.Uh-huh.NELSONSARAI did. But after a while itwasn't fun anymore. So I quit.NELSONWas that before or after youtoured as a stand-up comedienne?SARAOh, I never did that.

4/5/00 51.64 INT. SARA'S LOFT - NIGHT 64Nelson stands there somewhat bemused as Sara comes forwardwith a scarf, smiling.SARAThis will be good for you...She starts to blindfold him with the scarf.SARA... Sharpen your instincts.He laughs, oh goody a sex game, tries to grab her.SARANot those instincts. Okay, thisis the object --(as he grabs heragain)Stop it -- I run around so youlose track of where I am.(as he's pushing thescarf down)Don't do that, leave it on --count to ten and try to find me.She secures the blindfold and races off. He pauses for amoment, then:NELSONOne two three -- I'm gonna getyou! Four five six -- I knowwhere you are! Seven eight nineten.(pauses)This is really stupid.He starts to walk, bumps into a chair, takes a few stepsmore, bumps into a table, a few steps more and he tripsover a stool and crashes on the floor.Ow, shit!NELSONShe runs over to him, laughing.SARAOh my God, you're really bad, youdidn't even get close.NELSON(tries to ripoff scarf)This is funny?(CONTINUED)

4/5/00 52.64 CONTINUED: 64She helps him remove the scarf, still laughing. Onceagain, his flight mechanism kicks in and he wants out.He takes a deep breath, has to say something.NELSONSara, you're not gonna be upsetwhen I leave tonight...? I toldyou, one day.SARAYep. You told me. And you're aman of your word.NELSONDon't get me wrong, I appreciatewhat you're trying to do -- crazyas it may seem to me.SARAThat's me. Just... crazy.(sweetly)What are you more afraid of?Spending two consecutive nightswith a woman? Or discovering thiswhole thing might not be as crazyas you think?He is flummoxed for a moment.NELSONHard to say. I've definitelynever met a woman like you,though.Good.SARAHe covertly checks the time.NELSONSo, maybe I should just hit theroad.SARAStay for dinner. I have yourfavorite.NELSONYou don't know my favorite.Yes, I do.SARA(CONTINUED)

4/5/00 53.64 CONTINUED: (2) 64Oh, yeah?NELSONSARALean steak, no fat?Her sweetness and sincerity get through, even to him.SARAGo on, stay for dinner, thenyou're free to go. No stringsattached.65 EXT. SARA'S LOFT - DECK - NIGHT 65Nelson and Sara have dinner on a plant-covered deck, litby strings of cheap lights. Ernie is begging at Nelson'sfeet.SARAMitch was my October. He was theshyest man I ever met. We focusedon confidence building.NELSONWas the patient cured?SARAMy treatment was a little tooeffective. We had to terminatethe month early.NELSONWhat about September?SARAThere was no September.Nelson feigns disbelief.SARAI'm not a weirdo about it.August?NELSONSARAPaul was so sad.NELSONNow he's happy?(CONTINUED)

SWEET NOVEMBER - Rev. 5/4/00 54.65 CONTINUED: 65Now he's gay.SARANelson has to ask:NELSONHappy gay or gay gay?SARAGay gay but very happy about it.NELSONAnd you and all these guys...Nelson gestures suggestively.SARADoes it really matter?She flashes the most beguiling smile.NELSONI suppose attraction has nothingto do with it.The smile just becomes more beguiling, meaning: ofcourse.Why a month?NELSONSARALong enough to be meaningful.Short enough to stay out oftrouble.NELSONYou defy every law of natureI know.Good.SARAThe sound of a MAN LAUGHING drifts over from anotherporch.SARAListen... do you hear that? Whata wonderful laugh.(CONTINUED)

SWEET NOVEMBER - Rev. 5/4/00 55.65 CONTINUED: (2) 65She cocks her ear, listening to the MAN LAUGHING. Thenthey hear a BABY CRYING... a BASKETBALL GAME down thestreet, a DRUNK WOMAN SINGING like an alley cat. Asymphony of SOUNDS: lives being lived around them.SARADoesn't life just... take yourbreath away?Once again, he finds himself so moved by her, he iswordless. There is a long silence between them.SARAWhat's your secret dream, Nelson?NELSONI'm not much on that kind ofthing.SARACome on, everyone's got one.He listens to the SOUNDS, and takes a leap -- letshimself open up for a moment.NELSONMy father sold door-to-door.Vacuum cleaners, life insurance,for a while he sold plastic food.We were kind of the joke of theneighborhood. And believe me, theneighborhood was a pretty grim jokeitself.SARAWhere did you live?NELSONDaly City, just up the freeway...(pause)Anyway, after dinner every night,my dad would shut himself in theTV room and listen to 45s. FrankSinatra, Tony Bennett. For ayear or so, I desperately wantedto be a singer.SARAYou thought it would make himhappy?(CONTINUED)

SWEET NOVEMBER - Rev. 5/4/00 55A.65 CONTINUED: (2A) 65NELSONNo. I thought those guys wereeverything he wasn't. Successful,proud, in control...He stops himself -- feels too exposed, shocked that sucha sincerely-felt statement actually came from his lips.She feels his discomfort, reaches over and takes hishand.(CONTINUED)

4/5/00 56.65 CONTINUED: (3) 65SARAI'd like to hear you singsometime.NELSONThat will never happen.(wants to go; pullsback chair)Well, time to...SARAI'd like you to do something elsefor me, before you leave tonight.What?NELSONSARADo the dishes. I hate doingdishes.66 INT. SARA'S LOFT - NIGHT 66Nelson is washing the dishes. Sara sits on the floor,letting Ernie teethe by nipping her hand the way puppieslove to do.SARASo, what will you do when you gohome?NELSONI don't know, I don't really mapout my evenings...SARAI know. You'll turn on the TV.Get bored. Turn on your computer.Check out your work. Get bored.Surf the net. Get bored.(softly)And think of me.She stands up and leaves the kitchen. He seems torn,debates with himself as he finishes the dishes. Turns tosee Sara removing the last bit of her clothes beforeslipping into bed.SARAI'm making this as difficult as Ipossibly can.Nelson stares, his determination quickly waning.

4/5/00 57.67 INT. SARA'S LOFT - NIGHT (LATER) 67Raining. Nelson lies awake, studying Sara as rainyreflections of streetlights roll over her. Rising,he quietly dresses.68 INT. NELSON'S APARTMENT - LIVING AREA - NIGHT 68Raining. Nelson in his empty, sterile apartment, watchingTV. Bored, he flips from channel to channel. Turnsit OFF. Goes to his computer, looks at some work inprogress on it. Gets bored.SAME SCENE - LATERNelson surfing the net. Bored, he starts to disconnectwhen he thinks of something. He types in: "DIVINEPET.NET." His face slowly registers shock as the sitecomes up and he reads.CLOSE ON MONITORWeb site: Next to a picture of Sara and a blonde woman,who bears a striking resemblance to her -- the words:"SARA AND CLAIRE DEEVER, CO-FOUNDERS." The company isbased out of Indianapolis, Indiana.SAME SCENE - LATERNelson is typing something on his computer.CLOSE ON TYPINGHe has already written: "WATCH TV. WORK. SURF THE NET.GET BORED." And now he's typing -- "THINK OF ME."69 INT. SARA'S LOFT - DAWN 69Bathed in sunlight, Sara sleeps under a pile of blankets.Nelson tiptoes into the loft, carrying a travel bag. Ashe approaches the bed, ERNIE GROWLS dementedly, ready topounce.Nelson points a finger, is amazed when ERNIE STOPSGROWLING, THUMPS HIS TAIL ON FLOOR, awakening Sara.Overjoyed to see Nelson, Sara beckons him. Nelson slidesinto bed, kisses her.NELSONTry to be wrong once in a while.It would be good for my ego.

4/5/00 58.70 INT. SARA'S BATHROOM - DAY 70Nelson, wearing floral boxers, examines Sara's bathroom,frowning at the cast-iron tub. She is washing her face.NELSONDon't you have a shower? I hatesitting in dirty water.She lifts her head from the sink, water dripping, andlaughs.71 INT. SARA'S BATHROOM - LATER 71The two of them are sitting in a steaming tub, she iswashing his back.SARASee? That's not so bad, is it?(points)Can you grab some more soap?Reaching up to get the soap, he tries a cupboard door,surprised to find it locked.NELSONWhat do you keep in there?Secret, nasty toys?She raises an eyebrow; mock mysterious face. He findsthe soap on a counter, hands it to her.NELSONI looked up your web site lastnight. Your sister's pretty,looks a lot like you.SARAIt is not my web site. Not myanything, anymore.NELSONWhy'd you quit?SARAIt started out small. And it gotbig.NELSONThat's generally considered a goodthing in business.(CONTINUED)

SWEET NOVEMBER - Rev. 5/8/00 60.71 CONTINUED: (2) 71She slaps the water with her hand.SARAStop it! We have important thingsto do today...72 INT. MUNI TRAIN - DAY 72Nelson and Sara stand in a rail car crowded withcommuters. As the car jostles and bodies bump up againsthim, Nelson squirms with discomfort.NELSONI still don't see why we couldn'ttake a cab?SARABecause I make the rules, Nelson.Rules you must submit to, utterlyand completely.NELSONYou know, if you want to be adominatrix that badly, why don'twe just go buy you the leatherand get it over with.SARAKinky. Maybe even strangelyarousing. But if we took a cab,we'd miss out on all this.Exactly.NELSONSara studies Nelson, stiff and impenetrable once again.SARAYou know what this train is,Nelson?NELSONYou mean besides a buffet of badbreath and body odor?SARAIt's 55 lives. All happening atonce, in the exact same place, atthe exact same time. Imagine howmuch hope and lust and fear andlove are in this car, right now, atthis very moment. Look around.(CONTINUED)

SWEET NOVEMBER - Rev. 5/8/00 61.72 CONTINUED: 72I try not to.NELSONSARAI dare you. Look at someone,anyone. That woman by the door.A woman in her early 40s stands near one of the doors,her head leaning against the window as she stares out atthe passing city with a distant, detached expression.SARAWhat do you see?NELSONFemale, 32-45, primary householddecision maker. Watches 2.5 hoursof television a day, spends 27minutes at the grocery store,values price over brand.Ignoring him, Sara gazes at the woman with empathy andwonder.SARAI think she's a mother. I thinkshe loves her family so much ithurts. I think she'd throwherself in front of this train forthem if she had to. And I thinkwhen she gets into bed at night,she makes love to her husband likehe was the king of Egypt.As Sara enjoys the fruit of her imagination, Nelsonreconsiders the woman, this time seriously.NELSONI think she's got a dead-end job,a husband she can't remember whyshe married, and a kid who doesn'tunderstand any of it.Nelson's grim assessment rolls over Sara like a cloud,darkening her entire disposition.SARAMaybe. Maybe it's worse. Maybenothing about life even makessense to her anymore. Maybe somedays she wishes she could justquit pretending and end the wholegoddamn thing.(CONTINUED)

SWEET NOVEMBER - Rev. 5/8/00 62.72 CONTINUED: (2) 72Nelson stares, silenced by Sara's sudden bleakness.SARAYou want to go to the dark side,Nelson? I can get there fasterthan you can. Believe me.Looking away, Sara takes a deep breath and then smilesagain, as irrepressible as she was just moments before.SARABut what for? We see the world wechoose to see. And I think myfirst choice was a helluva lotmore fun, don't you?As the train jostles and jerks, Nelson and Sara searcheach other's eyes.73 EXT. SAN FRANCISCO DOCKS - DAY 73Hurrying down the pier, Sara waves when she spots Abnerwaiting patiently, holding a paper bag.SARAThere you are!Abner approaches, removing his balaclava. He's a cutekid, just shy and awkward. Nelson wants to make up foryesterday.NELSONHey, Abner, you've got a face andit's a good one, too!Abner giggles, as Nelson's PHONE RINGS.SARACell phones are outlawed in myworld.NELSONWhat can I say? The revolutionhas begun.She doesn't like this. Nelson answers the phone.VINCE (V.O.)Call me genius, I don't mind.NELSONWhat up, Vince?

SWEET NOVEMBER - Rev. 6/1/00 63.73A EXT. FINANCIAL DISTRICT - DAY 73AVince gesticulates as he strides down a crowded sidewalk.VINCEFriday, November 17. You, me andEdgar Price.(shouts)Pucker your lips, we got themeeting!A74 OMITTED A74thruthruD74D7474 EXT. SAN FRANCISCO DOCKS - DAY 74Nelson steps away, sits on a nearby piling as Sara andAbner head toward the cluster of kids.NELSONYou're genius, Vince.VINCE (V.O.)About time you said so... Hey,heard about Angelica. Sorry, man,but truthfully? As much as I lovedher, I knew she wasn't for you.NELSONDid you? Funny you tell me now.VINCE (V.O.)Yeah, well, you know... discretion,valor... do I smell a new femalefriend?Nelson watches the other kids coldly survey Abner, as ifhe's too soft for this event. The tough kids areshowing off their remote-controlled sail boats: Most ofthem are simple, macho, tough -- they look like Mad Maxboats.NELSONWhat makes you say that?VINCE (V.O.)When my man skips his usualmorning check-in calls, I knowthere's estrogen in the air.(pauses)C'mon, c'mon, c'mon. Don't insultme. I have a life. Who is she?(CONTINUED)

SWEET NOVEMBER - Rev. 6/1/00 64.74 CONTINUED: 74NELSONYou wouldn't know her.VINCE (V.O.)But would I like her? On a scaleof nine to ten, is she --ABNER WITH KIDSpulls his boat out of a bag and the kids start to laugh.Abner's is a hand-made sailboat, full of whimsy andinvention, an eccentric work of art.KID #1Oh that's really cool, not.KID #2What is it? Pokeman's dinghy?The kids have gathered in a circle around Abner, they areintimidating, threatening. Becoming concerned, Saraturns to Nelson, waves him over.NELSON ON PHONENELSONListen, I gotta run, great news onthe Edgar thing --VINCE (V.O.)Wait, wait -- quick thumbnail -- Ineed a gossip fix here --NELSONSee you on the 17th.74A NEAR LAUNCH AREA 74AHe hangs up and joins Sara and Abner as one of the BIGBROTHER ORGANIZERS tries to break the circle up.BIG BROTHER ORGANIZERCome on, all boats in the water?KID #1Except for this kid's.The kids leer contemptuously as Abner nervously stepsforward and lowers his sailboat into the water.(CONTINUED)

SWEET NOVEMBER - Rev. 6/5/00 65.74A CONTINUED: 74AKID #2That's not a kid, that's a girl.ABNER(turns to Nelson)Maybe I'll just forget about it.NELSONNo, ignore them, Abner.Abner?KID #1(disdainfully)The kids huddled together, checking Abner out, hiss hisname.Abner.KIDSThe Organizer comes forward, shaking his head telling thetough kids to stop. As he raises his arm holding astarter pistol, Nelson spots a techie nerd packing up amodel submarine on a nearby bench.NELSONHang in there. Just wait a minute.(whispers)Abner is a great name.74B ANOTHER ANGLE 74BAs the Organizer raises the pistol to fire, Nelson boltsover to the techie nerd.NELSONWanna make a hundred bucks?74C ON TECHIE NERD 74CCovertly slipping his remote-controlled sub into thewater.74D ON RACE 74DThe remote-controlled sailboats glide in the water.Suddenly, the lead boat tacks off course. The next leadboat tacks off course and out of position.KID #1Hey! My boat's all screwed up!(CONTINUED)

SWEET NOVEMBER - Rev. 6/5/0066-66A.74D CONTINUED: 74DKID #3What the hell --As the techie nerd snickers, Abner's boat starts sailingin a physically impossible straight line for the finishas the rest of the flotilla has to tack back and forth.WIDERAbner looks up at Nelson, who winks back. As his boatpasses the others, narrowly beating the last two boats tothe finish, Abner grins from ear to ear.ABNERI guess I'm winning.KID #1Hold on -- that little creep ischeating!ABNERNo, I'm not. My boat's justbetter.Abner's boat nudges the end of the pond; he calmlyannounces:ABNERSee? I guess I won.75 EXT. STREET - DUSK 75Nelson and Sara stand outside Abner's little house,watching him unlock the door. Before stepping in hewaves to them.ABNERCan we do that again? With cars,next time, maybe?Nelson nods, Sara shakes her head. Abner closes thedoor, smiling. The minute he's gone, Sara turns toNelson.(CONTINUED)

4/5/00 67.75 CONTINUED: 75SARASometimes a good idea is not agood idea, know what I mean?They start to cross the street toward her building.NELSONThose kids were laughing at him.Have you ever been laughed at?(pauses)Okay, cheating is... bad, I guess.SARAYeah, you're a father figure now.NELSONGet out of here -- father figure.The kid just met me.SARAYou're a man. When you don't knowwho your father is, you're notvery picky about your role models.She stops, stunned. A Circuit City man is standingoutside her building with a big box.What's that?SARANELSONDon't be mad, I got you a littlepresent. A flat screen TV.SARAThat's not a 'little present' forme, it's a 'little present' foryou.(sweetly, but firmly,to Circuit City man)Take it back. Better yet, youkeep it. I never watch TV.She unlocks the door and leaves Nelson stunned outside.76 INT. STAIRWELL - NIGHT 76Carrying a bottle of wine, Nelson trudges up the stepswith Sara, feeling very put out.SARAStop pouting, we promised ChasCherry we'd come.(CONTINUED)

4/5/00 68.76 CONTINUED: 76NELSONOh we're calling everyone by firstand last names now? I don't wantto waste my night with Chas Cherry.I want to get naked with Sara Deever.SARAYou have a one-track mind, NelsonMoss. Trust me, you won't bebored. Chas Cherry's a great cook.77 INT. CHAS'S LOFT - NIGHT 77Nelson sitting across from Chas, who has metamorphosedinto an extravagantly made-up, gloriously stylishtransvestite.SARAThat was Chas. This is Cherry.Chas extends a manicured hand, Nelson is trying his hardestto go along with it, forcing himself to be hip, ebullient.NELSONGreat, great, this is very -- youknow -- Pink Flamingoes -- greatoutfit, and the makeup, wow.(faltering)Wow.BRANDON (O.S.)This wine is so Martha Stewart --BRANDON enters from the kitchen with the uncorked bottleof wine. Also fully crossed, Brandon's get-up is evenmore flamboyant than Chas's.BRANDONIn other words, perfect.SARAThat was Brandon. This is Brandy.NELSONBrandy and Cherry, great. So.Here we are... surprise!He laughs uncomfortably, working double-time to be cool.Chas and Brandon start to tease him, with a light touch.CHASDo you think he's uncomfortable?(CONTINUED)

4/5/00 69.77 CONTINUED: 77About what?BRANDONCHASI don't know, maybe he doesn'tlike...(points to themeal)Lamb stew.(to Nelson)I hope you're not vegetarian,Nelson, I forgot to ask.BRANDONActually, we just presumed youwere a meat eater.NELSONRight, right, you presumed right.Lamb stew, great.He is dying, desperate to get out of there.CHASCould it be the music? Maybeclassical Italian opera... justsets you on edge...BRANDONYou don't have anything againstItalians, do you?NELSONNo, I love Italy! I lovePuccini! I love Michelangeloand -- and --He looks in the other room, sees a TV playing.NELSONI just want to watch a little TV.CHASOh, we understand that need,completely.Nelson gets up and leaves the room in a hurry. Sara,Chas and Brandon exchange a look.78 INT. LOFT - TV ROOM - NIGHT 78Nelson sitting on sofa, watching a TV ad.(CONTINUED)

4/5/00 70.78 CONTINUED: 78CLOSE ON TVLycos commercial with man in kilt -- wind raising kilt up --dog running to castle -- dropping off a package. Pair ofboxer shorts for the man.CHAS (O.S.)I always liked this spot, but Iwould have remixed it, those twolines at the top get swallowed.BACK TO SCENESurprised, Nelson turns around to see Chas standingbehind him. Sara is next to him, rubbing her temples.SARAWho ate them? The dog?CHASDon't be Cruella, Sara. That'sone of Nelson's ads. He won GoldPencil for it.NELSON(surprised)How did you know that?Sara exchanges an embarrassed look with Chas, shrugs.SARAI meant to tell you, Cherry, I'msorry I meant Chas, works inadvertising, too.NELSON(smirks, bored)Really? What firm?CHASBaker, Bohanen...Nelson's smirk disappears.NELSONChas... Whatley?BRANDONOh look, baby's famous.Nelson's jaw drops, he is horrified.(CONTINUED)

4/5/00 71.78 CONTINUED: (2) 78NELSONOh my God, you have been thatChas... all this time?(it registers)Wait a minute, you didn't getthe Doctor Diggety accountdid you?CHASNelson, does it really matter?NELSONOh sure, maybe not to Cherry --but I bet it matters to Chas.I know it matters to Nelson.Just then, the PHONE RINGS. Sara picks it up. She isstill rubbing her temples, as if there's a headachecoming on.Hello?SARANelson points an accusatory finger at Sara.NELSONShe should have told me.(pauses)I mean, this is... awkward. IfI'd known who you were...CHASYou would have been nicer to me?Thanks.They stop talking when they see how upset Sara is as shesays to the person on phone:SARAI said: he's busy. No I can'ttalk to you, either. Good-bye.She hangs up. Glares angrily at Chas, really rubbing hertemples.SARATen guesses who that was.CHASSara, it's not what you --(CONTINUED)

4/5/00 72.78 CONTINUED: (3) 78SARAHow long have you been doingthis behind my back? What doesshe want?She sees how confused Nelson is, tries to make light asshe backs out of the room.SARAOh, it doesn't matter. I'mgonna go downstairs.(to Nelson)I have a headache. You stay.And she hurries to the front door. Nelson looks worried,starts to go after her -- Chas shoots him a look -- lether go.NELSONWhat was that all about?CHASShe gets migraines.NELSONNo, the phone call. Who was that?CHASHer sister, Claire. Long story.(sees Nelson's look)I'm not telling it.79 INT. SARA'S LOFT - NIGHT (LATER) 79Clearly in pain, Sara locks the closet in the bathroom,comes out when she hears the DOOR OPEN. As Nelsonenters, she flashes a smile.SARAHey, sorry I lost it back there.NELSONThat's okay. Gives me a littleboost to know you're not perfect.(gently)Feeling better?SARAOh yeah. All gone.(CONTINUED)

SWEET NOVEMBER - Rev. 5/11/00 73.79 CONTINUED: 79NELSONChas told me it was your sister onthe phone. Why does that upsetyou so much?She shrugs and heads over to the bed. Throws on thecharm.SARARemember the part about gettingnaked -- we could do that now.NELSONDon't dodge me.(sits down besideher)Talk to me. What happened?She freezes up. Quite simply cannot tell him anything.He is really surprised, and a little hurt.NELSONThat's not fair. You expect me tobe so honest, so forthcoming...SARABut this is your month, not mine.She sees how mad he's getting, leans in and kisses him.SARANever go to bed angry.Aroused by the kiss, Nelson prolongs it, unzips herdress, slips his hand inside, caresses her back. Issurprised to feel her stiffen under his hands. He backsaway, studies her. He sees what she's trying to hide.NELSONYou're not feeling well are you?(as she gesturesevasively)Maybe we'll get naked tomorrow,tonight we'll wear P.J.s.80 INT. SARA'S LOFT - BEDROOM - MORNING 80Sara and Nelson sound asleep, arms wrapped around eachother, both wearing pajamas. Hearing a KNOCK on door,ERNIE starts BARKING insanely. Pissed, Nelson liftshis head, shouting:(CONTINUED)

SWEET NOVEMBER - Rev. 5/11/00 74.80 CONTINUED: 80NELSONErnie, shut up.ERNIE keeps BARKING. Then Nelson hears a louder KNOCK.Annoyed, he rolls out of bed and heads for the door.Opening it, Nelson finds Abner with an old trunk besidehim.ABNERWanna buy some junk?NELSONAbner, it's, uhh... a littleearly.ABNERI think I can break the recordfor tallest house of cards, but Igotta buy 75 decks, so I thoughtmaybe I could sell some of mystuff.Awake, Sara listens as Nelson waves Abner in.NELSONYeah, sure... come on in.ON NELSON AND ABNERsitting on the living room floor as Abner pulls onecolorful, homemade toy after another out of the trunk.Composed entirely of found parts, the hand puppets,figurines and other toys are wildly original. BelievingSara is still asleep, Nelson and Abner speak softly:NELSONAbner, what is this stuff?ABNERI make my own toys. It'scheaper.Amazed, Nelson chuckles, but Abner takes it the wrong way.Never mind.ABNERAbner starts to put the toys away, but Nelson stops him.(CONTINUED)

SWEET NOVEMBER - Rev. 5/11/00 75.80 CONTINUED: (2) 80NELSONWhoa, whoa, wait a second.(beat)Why do you wanna set a worldrecord?ABNERI wanna be good at something.As Nelson studies Abner, Sara listens intently from thebed.NELSONDo you have any brothers orsisters?Abner shakes his head.NELSONNeither did I.Abner looks up at Nelson with a new sense of connection.NELSONIt's lonely sometimes, but youknow what?(pointing tohis temple)It makes you use your imagination.It makes you creative. You'realready good at something, Abner.This stuff is incredible.Watching now, Sara smiles, as proud as she is touched.NELSONOther kids just buy toys at astore. All that takes is money.This stuff is ten times cooler.Abner, you're an artist.The affirmation sinking in, Abner smiles as he picks upa spider puppet.ABNERThey don't do much though.Really?NELSONNelson puts his hand into a wild, red-eyed mad man puppetand brings it to life with a silly puppet voice:(CONTINUED)

SWEET NOVEMBER - Rev. 5/11/00 75A.80 CONTINUED: (3) 80NELSONI happen to do a lot, young man.Why just last night, I clonedmyself and then ate me for dinner.ABNER(smirking)I think I'm a little old for that.NELSONOh right... of course you are.Nelson now sees Sara is awake, and they exchange a grin.NELSONIn that case, I'm sure you'realso too old for this...raaaaaghhh!Nelson attacks with the mad man puppet and Abner, his kidinstincts kicking in, flees.Aaaahhh!ABNERAs Nelson and the mad man chase Abner and his spideraround the loft, ERNIE BARKS furiously. Cornering Abner,Nelson reaches out with the mad man puppet and tapsAbner's spider.You're it.NELSONThe chase reverses.Raaaaaaghhh!ABNERGaining ground on Nelson, Abner rounds a corner and runssmack into Sara.SARANo running in this house!(scary alien voice)Unless I get to play!Sara whips Abner's one-eyed alien puppet out from behindher back and chases after its creator.SARAAh-hah-hah-hah-hah!(CONTINUED)

SWEET NOVEMBER - Rev. 5/11/00 76.80 CONTINUED: (4) 80Fleeing, Abner soon finds himself pursued by Sara, Nelsonand Ernie all at once.JUMP CUT TO:SAME SCENE - LATERas the game evolves, Abner and his spider puppet prowlingthe loft.Behind Abner, the mad man and the alien silently appearin doorways and above furniture, but when Abner spinsaround, they're gone. Even Ernie scampers past withAbner's wire dog strapped to his back, but Abner missesit.Finally, Abner outsmarts the grown-ups, backtracks andcatches them both in the kitchen, looking the other way.Ahhh!Eeewwwwh!Arrrrrrhhh!ABNERSARANELSONSara and Nelson flee, but someone trips, and as theycollapse into a pile, Abner jumps on top, all threelaughing hysterically.81 OMITTED 81&&82 8283 EXT. COFFEE SHOP - DAY 83In very high spirits, the three of them sit at a tableoutside the coffee shop. Abner and Sara share a bananasplit. Abner is horrified to see the waitress bringNelson a fruit salad. Sara whispers to Abner.(CONTINUED)

4/5/00 77.83 CONTINUED: 83SARAI know, don't say anything.A Porsche pulls up to the curb, LEXY, a lingerie modelin the passenger seat, checks out the street.LEXYThe movie starts in ten minutes.Maybe we should skip it.A MAN jumps out of the car, says:MAN FROM CARDon't worry, babe, you'll getyour cappucino.Seeing Nelson, the Man stops dead in his tracks. It isVince. He whistles as he takes in the whole scene.VINCEOoooh. Somebody went domestic.Just then, Abner checks his watch, jumps up.ABNERGotta go. Mom's home for an hourbetween jobs!He runs off. Vince edges a little closer to Nelson'stable, checking Sara out head to toe.VINCEOkay, okay. Wow. Well, I guessit all makes sense. 'MysteryWoman Unveiled' on...(looks around)What street is this? Where am I?I'm lost!NELSONUm... Sara, Vince, Vince, Sara.Lexy calls out from the car, impatient to leave.LEXYVince, the movie...VINCE(doing a weighingof scales)The movie... the cappuccino...the movie... women.(CONTINUED)

4/5/00 78.83 CONTINUED: (2) 83SARAGod, that is one of the mostastute observations about femalebehavior I've ever heard. Are youa psychologist?VINCE(confused, laughs)Funny. She's funny. Right?That's good...(points to his car)Meet the lovely Lexy -- my manNelson, his woman Sara.Hey, Lexy.Hi.SARALEXYVINCESee, they get along. Why don'tthe four of us go out togethersometime, you know, do somethingdepraved?Just then a WAITRESS comes out and Vince stops her.VINCEQuick order. Cappuccino.WAITRESS(harassed)Quick answer. No quick orders.And she walks back inside the coffee shop.VINCEI love this place. I'm gonna comehere every day. So I guess themovie wins.(winks to Sara)Keep you women happy, that's ourjob.(heading back to car)Don't forget, my man. The 20th.You, me, and God.(reaches his door)Sara -- a pleasure, and an honor.He gets in the car, REVS the ENGINE and off they go.Nelson is embarrassed, starts doing a tap dance.(CONTINUED)

4/5/00 79.83 CONTINUED: (3) 83NELSONHe's actually a good guy. Deepdown. Somewhere.SARAHe seemed okay.NELSONI just mean... the glibness...kind of wears you out after awhile.SARADo you always talk about yourfriends that way?NELSONNo. Fortunately, I don't haveany friends besides Vince)(raises his hands)Okay, I should be ashamed ofmyself, I'm a lousy human being.SARA(pauses, doesn'tindulge him)So what is it? Some kind of boy'sclub, work friendship?NELSONI guess so. I don't examinecertain details of my life tooclosely.SARADo you trust him? Isn't that whatfriends are for?Nelson shrugs, then nods, then shakes his head, then nodsand shrugs again. She cracks up. He's unaware he'sdoing it.SARAWould you trust him to be therefor you...When?NELSONSARAIn a scary situation, let's say.(CONTINUED)

4/5/00 80.83 CONTINUED: (4) 83NELSONYou may have noticed -- I don'tput myself in those situations.SARA(the sweetest smile)Do you trust me?Aware of what he's doing now, Nelson shrugs, shakes hishead, nods. She hits him with a look.SARAShow me the house where you grewup.84 EXT. HOUSE (OLD NEIGHBORHOOD) - DUSK 84A decaying working-class neighborhood; "for sale" signsdot the front yards. Nelson's neglected old house has a"for sale" sign in front. He balks, feigningindifference.85 INT. HOUSE - DUSK 85She opens the front door, extends her hand to Nelsonwho's like a spooked horse out on the porch.SARAIt's just a house, Nelson.He takes a deep breath, still balking, then gives in.Holding Sara's hand, he enters and slowly wanders throughthe empty living room... memories, images, and soundswashing over him. He is silent for a long time, then:NELSONYou remember blue and it turns outto be green. Maybe it turns outwe were... happy once in a while.There is a set of double doors half open, leading to aroom beyond. Together they open the double doors andstep inside.86 INT. OLD TV ROOM - DUSK 86Humming a Frank Sinatra, she guides him to the centerof the room and begins to slow dance with him; after awhile, he whispers in her ear.(CONTINUED)

SWEET NOVEMBER - Rev. 4/28/00 PM 81.86 CONTINUED: 86NELSONSara, I may not know a lot ofthings...(gently)... but I do know how to slowdance. And you are terrible.Now, watch me, I'll teach you.As he teaches her how to slow dance, see the look of puregratitude on his face -- this is a big moment for him.He is crossing an irreversible line.SERIES OF SHOTSto show the passage of time.87 INT. LOFT BATHROOM - DAY 87Nelson lying in the bathtub, shakes his head. Sara ispainting his toenails. He doesn't like the color.88 EXT. VEGETABLE STAND - DAY 88The two of them buying vegetables; the Chinese womanholds up pictures of her family to Nelson, enjoying hisreaction.89 INT. LOFT - NIGHT 89Blindfolded, a naked Nelson gropes his way around theloft, trying to find Sara who is stripping and tossingher clothes at him, laughing.90 EXT. STREET - DAY 90The two of them taking another walk; CAMERA MOVES OFF ofNelson to reveal... he is walking Ernie, the puppy, on aleash.91 INT. SARA'S LOFT - DAY 91As Sara cuts her hair with a FLOWBEE, Nelson dresses inbusiness attire. Three weeks of November are crossed offthe large wall calendar. It is November 20th.(CONTINUED)

4/5/00 82.91 CONTINUED: 91NELSONEvery woman I know spends 200dollars on a haircut. You use avacuum cleaner.SARAQuit trying to change the subject.Visibly upset, Sara shuts OFF the SELF-GROOMING MACHINE.SARAYou made a commitment. Our timeisn't over.NELSONIt's one meeting.SARAWhy is going to some pow-wow withthat slicko Vince such a big deal?NELSONBecause it's probably the chanceof a lifetime, that's why.SARAWell, if it's a whole lifetime,just postpone it for one moreweek.NELSONSara, when Edgar Price says he'llmeet you, you don't say, 'Wait,how about next month?' You say,'Thank you. I'll be there.' He'sone of the greats. Where's myphone?SARAI hate it. I threw it out.OFF Nelson's look, Sara produces his cell phone and slamsit down on the table in front of him.SARAWhat if the Great One hires you tostart tomorrow?NELSONI should be so unlucky. My gizmo.Sara digs his memo recorder out of a hiding place.(CONTINUED)

4/5/00 83.91 CONTINUED: (2) 91SARAThat would ruin everything -- wehaven't finished! You haven'tsung for me yet. You promised youwould.Nelson pours a huge coffee.NELSONThat's a promise I know I didn'tmake, because that's a promise I'dnever keep.Nelson chugs the coffee and sets out to leave, sodistracted he forgets to say goodbye to Sara. As Sarawatches the door shut behind him, she begins to lookfrightened.SARA(to closed door)Nelson, please don't go.92 INT. POWER RESTAURANT - DAY 92An innocent-looking WAITRESS delivers lunch to Nelson,Vince and EDGAR PRICE (60). Nelson is essentially takingcommand of the meeting, showing the same coolprofessionalism he exhibited when he delivered hispresentation. As he talks, Edgar Price studies himcarefully.NELSONWe know a lot of guys who do thisfor the awards, Mr. Price, butthat's not us.Vince thoughtfully nods his head, then flashes a wickedsmile.VINCEThat doesn't mean we don't get theawards.NELSONBut still... we're not aboutacclaim, hand-holding, dinners,sending prostitutes to theclient...PRICEProstitutes? That's new.Sensing that Price is a hound dog, Vince cozies up.(CONTINUED)

SWEET NOVEMBER - Rev. 5/4/00 84.92 CONTINUED: 92VINCEYou've been retired for a longtime. We got stories for you.Price's eyes light up, he laughs. Vince seems worriedthat Nelson is coming off as a stick in the mud.NELSONWe're about the work. If the workis great, it speaks for itself.Vince nervously starts to fill the silence, when Pricespeaks.PRICEThat's all I need to know.(smiles, they're in)That, and -- married? Any kids?VINCEWe've avoided the family thing forsome time. All our lives.PRICEGood. Because if you're worriedabout 'quality of life' orpaternity leave or any other newage crap, much as I like you, wecan stop right now. I need to beyour full-time commitment.Nelson debates a moment, not sure he likes the tone, buthe plays along, playing politic.NELSONI can do that.VINCEIf only it were so easy withwomen.93 EXT. CHINESE TEA SHOP - DAY 93Chas and Sara walk toward the Chinese tea shop.CHASHe'll come back, even if he getsthe job.(CONTINUED)

SWEET NOVEMBER - Rev. 5/3/00 85.93 CONTINUED: 93SARAI'm not worried about it.(totally worried)You really think so?CHASMy God, I've never seen you likethis.SARAIt's just that... we still haveten days to go... and he was doingso well.CHASWhat's ten days when you'll boothim out in the end?SARATen days is a lifetime, Chas.(pauses)I should have locked him in. Ishould have tied him to the bed.CHASWouldn't have stopped him. I knowguys like Nelson. When push comesto shove, he's only gonna do whathe wants to.SARAThat's one of my favorite thingsabout him. It's also what scaresme. It's so amazing, Chas. Hewas changing, right before myeyes.CHASHappens to the best of us.

4/5/00 86.94 INT. POWER RESTAURANT - DAY 94Now Vince is doing a little song and dance for Price.VINCEJust so you know, I've got acouple clients in my hip pocket,some great leads for new accounts.So we come -- fully loaded.PRICEYou're not selling me a car,Holland, and frankly I'm notoverly impressed with you anyway.(to Nelson)But your reputation precedes you,and if I have to take him to getyou, I will. This is my offer.It's good as long as we're at thistable.Clearing their plates, the Waitress spills a drink. Itsoaks the napkin Price is writing on and pours into hislap.WAITRESSI'm sorry. I'm so sorry.PRICEYou know... we are what we do inthis world, sweetie, and you're awaitress. All that requires isthat you bring the food and drinkto and from the table withoutmaking a mess. That's it. Sowhen you screw up something soincredibly simple as that...well that just doesn't say a wholehelluva lot about you, does it?Stunned, the Waitress carries the dishes to a nearbywait-station where she breaks down and cries.VINCEWomen like that I give dumb a badname.ON NELSONas he watches the Waitress cry, then turns to appraisePrice, who doesn't skip a beat as he grabs a new napkin.(CONTINUED)

SWEET NOVEMBER - Rev. 5/4/00 87.94 CONTINUED: 94PRICEThey should fire her.(pauses)I always say -- a bad hirestrengthens the competition'shand. A good general feeds offhis enemy.NELSONActually, Sun Tzu said the lastline, in The Art of War.VINCEDid he? Interesting.Price starts to rewrite the offer. Suddenly he stands asif to leave, he's pulling a tactical maneuver to make themnervous.PRICEThat's right. Smart man, Nelson.Price writes the offer on the napkin. Vince picks it up,reads it, jaw dropping. Price grins -- loves his ownsense of drama -- extends his hand to Nelson. But Nelsondoes nothing. And Vince starts to freak.VINCENels? Are you there...?NELSONNot interested.PRICEYou don't like my offer?NELSONMr. Price... my father was a poorman... embarrassed by his ownlife. I swore I'd never end uplike him. I thought money andsuccess would be the difference.But you're rich and successful,and I don't wanna ever end up likeyou either. It's not the offer Idon't like... it's you.95 OMITTED 95

SWEET NOVEMBER - Rev. 5/4/00 88.96 INT. POWER RESTAURANT - DAY 96Vince and Nelson face each other, both aware of Price onhis cell phone only a few yards away. Vince is verynervous.VINCEAct normal, he's watching us.Price returns, casually drops the napkin with the offer onthe table. Vince picks it up, reads it, jaw dropping.Price grins -- loves his own sense of drama -- extends hishand to Nelson. But Nelson does nothing. And Vincestarts to freak.VINCENels? Are you there...?NELSONNot interested.PRICEYou don't like my offer?NELSONMr. Price... my father was a poorman... embarrassed by his ownlife. I swore I'd never end uplike him. I thought money andsuccess would be the difference.But you're rich and successful,and I don't wanna ever end up likeyou either. It's not the offer Idon't like... it's you.

SWEET NOVEMBER - Rev. 5/3/00 90.98 CONTINUED: 98NELSON (O.S.)Have you ever heard of an aeridesodoratum?She looks over. Nelson is in a taxi, stuffed to thegills with flowers. He holds up an exotic purple orchid.NELSONIt reminded me of you.She takes the orchid, walks abreast of the cab as itslowly makes its way down the street.SARAYou got the job, didn't you?NELSONBest offer anyone ever made me.He hands her a bouquet of roses.SARAWhen do you start?NELSONWe had a hard time agreeing onthat.(hands her tulips)He suggested immediately.(hands more flowers)I suggested never.He hands her the biggest bunch of flowers of the batch.(CONTINUED)

SWEET NOVEMBER - Rev. 4/28/00 91.98 CONTINUED: (2) 98NELSONHe was the biggest prick I evermet, Sara.She has reached the front of her building. Howls withdelight, drops the flowers in her arms. Nelson leaps outof the cab, they kiss, flowers all around them.98A INT. SARA'S LOFT - NIGHT 98ASara and Nelson are holding each other, asleep in bed.98B EXT. SAN FRANCISCO - NIGHT 98BThe city sleeps.99 INT. SARA'S LOFT - DAY 99Nelson is brushing Ernie, who keeps squiggling back totry to bite him. Nelson may tolerate dogs now but he'snot St. Francis of Assisi -- he fake threatens to whackErnie with the brush, growling. Sara is poring over aslew of cookbooks checking out recipes for roast turkey.SARAHow does vegan turkey sound?NELSONVile. Come on, let's keep Ernie.SARANope. He got placed, he goes.NELSONBut you love this little monster.He doesn't notice that as she sets a book down, shedoubles back, holding her stomach as if nauseated.SARAThere's another one coming soon,I'll love him.NELSONCold, heartless woman.She smiles thinly, the wave of nausea passes and sheresumes perusing the books. Forces herself to soundbright.(CONTINUED)

SWEET NOVEMBER - Rev. 5/8/00 92.99 CONTINUED: 99SARAHow does turkey with Cajun oysterstuffing sound?NELSONOrdering sounds better.SARAYou can't order Thanksgivingdinner, this is one time in lifewhen it's good to be trad.NELSONIn that case, are you invitingyour family?SARANo. Holiday fights are a littletoo traditional for my taste ifyou know what I mean.NELSONWhat do you guys fight about?SARAMoney, religion, sex, Sara'sdecisions, Sara's 'unconventionallifestyle.' They think I'm afreak.NELSONYou are a freak.SARA(shrugs)Anyway, boring subject.The truth is she feels too shitty to talk, turns her headfrom him to hide another wave of nausea.NELSONI'm sure they miss you.SARAI know they do.She slams the book shut to indicate: end ofconversation.(CONTINUED)

SWEET NOVEMBER - Rev. 5/8/00 93.99 CONTINUED: (2) 99NELSONYou know, there's a good traditioncalled making up. Try it.SARASome day I'll have to.Someone KNOCKS on the door. Becoming more upset, anxiousto be alone, she pleads.SARANelson, will you walk down withhim, please?NELSONSure. Come on, boy.As Ernie trots off with him, Nelson opens the door,revealing a BURLY MAN.BURLY MANThe password is 'Mentos... Freshand Full of Life.'What else?NELSONThe Man forces a smile and gives the thumbs-up sign.Nelson hands him Ernie's leash and follows them out. Themoment the door shuts, Sara rushes into the bathroom.100 EXT. SARA'S BUILDING - DAY 100The Burly Man exits with Ernie, followed by Nelson. Asthe Man leads Ernie toward his van, Ernie keeps peeringback at Nelson who meekly waves, genuinely sad.ABNER (O.S.)Why can't she keep one, for achange?Nelson looks down to find Abner, wearing his balaclavaand holding his skateboard.NELSONGuess she helps more this way.The two of them stand there watching the van pull away.ABNERI've been thinking aboutsomething.(CONTINUED)

4/5/00 94.100 CONTINUED: 100NELSONYou have? Glad to hear it.ABNERI'm thinking: if you wanna adoptme, you can. Father-Son Day's onMonday. It would be goodtiming.NELSONI don't quite know what to say,Abner.Sensing rejection, Abner looks away. Nearby, Al andOsiris are changing the window display in theirbookstore.NELSONI tell you what. I can't adoptyou, but I'll come to Father-SonDay if you want.Promise?Promise.ABNERNELSONAn ecstatic grin spreads across Abner's face.ABNERWait till my mom hears!As Abner runs off, Osiris comes out to check the windowdisplay, waves to Nelson.OSIRISHey, Nelson, like the new display?NELSONBeautiful, Osiris. Always had asoft spot for Che Guevara.OSIRISHow's life? How's Sara?NELSONBoth are...(peers up at loft)Great.(CONTINUED)

SWEET NOVEMBER - Rev.6/12/00 95.100 CONTINUED: (2) 100He slowly takes in all the life on the street -- sees theChinese fruit vendor sweeping up her sidewalk, she nodsto him. In a thrift store nearby, a twelve-year-old girlpractices dance moves, peering at herself in a mirror.Nelson absorbs it all, feeling something he's never feltbefore: part of place. True contentment. Love. Hiseyes roam up to the billboard which was being replaced afew weeks ago. A new ad is up. It says: LIFE ISCHOICE, MAKE THE RIGHT ONE.There is a moment, a transcendent moment. If ever youcould see a person have a revelation, it would be righthere, right now. He spins on his heels and runs inside.101 INT. SARA'S LOFT - BATHROOM - NIGHT 101Sara's face is wet, and her hands tremble as she forcesdown pills. In raw frustration, she pounds her fists onthe counter. Hearing Nelson's FOOTSTEPS ON the STAIRS,she scrambles to pull herself together.102 INT. SARA'S LOFT - DAY 102Nelson enters, shouting.NELSONI have an announcement to make!He stops in the doorway to the bathroom. Sitting next tothe tub, Sara drinks more water.NELSONWhat's wrong? Are you okay?SARAYeah, I'm fine.Nelson enters the bathroom and gestures toward thelocked cabinet.NELSONWhat do you keep in there?Nothing.SARANELSONNothing usually doesn't require alock. What's wrong?(CONTINUED)

SWEET NOVEMBER - Rev.6/12/00 96.102 CONTINUED: 102SARAI'm fine. So, what's the bigannouncement?NELSONCome on, Sara, talk to me.SARAAm I okay? No, I'm not okay.I have a migraine. And I missErnie.Sara returns to the kitchen and busies herself choppingvegetables. Nelson follows.SARASo, come on, what's your bigannouncement?Marry me.NELSONSARATechnically, shouldn't that be aquestion?NELSONWill you marry me?SARAAre you insane?NELSONYes, I am, and you should be veryproud of the work you've done.(kisses her)I stood on the street, Sara, andI realized: This is it. Lifewill never be better or sweeterthan this. I am happy. I'm inlove. Everything just clicked forme.SARAThat's incredibly sweet, but youdon't understand...NELSONYes, I do. It all makes sense: Iwant you, I want this life.Nelson's CELL PHONE RINGS inside one of the kitchencabinets. Nelson retrieves it and drops it into thewater-filled sink.(CONTINUED)

SWEET NOVEMBER - Rev.6/12/00 97.102 CONTINUED: (2) 102Marry me.NELSONHe pulls off his watch and drops it into the sink aswell.NELSONMarry me, Sara.SARAYou're forgetting something.Sara moves to the refrigerator to gather more vegetables.What?NELSONSARAWe made a deal, remember?One month. That's it.NELSONDid you hear what I said? I saidI'm in love with you. I've neversaid that to anyone, ever.SARAWell then this is a really bigbreakthrough for you -- you canfinally say things that you couldnever say before.NELSONSara, I know you're not feelingwell, but I gotta say... I washoping for a different reaction.SARAWe made an arrangement, Nelson.One month and not a day more.That was our deal.NELSONScrew the deal. I just asked youto spend the rest of your lifewith me. Doesn't that meananything to you?SARAOf course it does.Sara tries to turn away, but Nelson won't let her.(CONTINUED)

SWEET NOVEMBER - Rev.6/12/00 98.102 CONTINUED: (3) 102NELSONYou said you'd never lie to me.I haven't.SARANELSONThen look at me and tell me youdon't love me.Sara's eyes fill with tears.SARAPlease don't make me do this rightnow.She heads for the bathroom.NELSONDo what, tell the truth?SARA(stopping)This! What you want, what youneed... I can't give it to you,Nelson. Any of it. Ever.Why not?NELSONSARA... because of me.NELSONWhat about you? For God's sake,Sara, please just tell me what'swrong. All I want is the truth.I can't --SARARushing into the bathroom, Sara slams the door behindher.Sara?NELSONAs he tries the door, Nelson hears her becoming violentlyill inside.NELSON(banging on the door)Sara? Sara! Sara!(CONTINUED)

SWEET NOVEMBER - Rev.6/12/00 99.102 CONTINUED: (4) 102Throwing his shoulder into the door, Nelson breaks itopen and finds Sara, slumped over by the tub, with vomitcovering the floor beside her.Jesus.NELSON103 INT. BATHROOM - DAY 103Delirious and crying, Sara fumbles to cover the vomitwith a towel as Nelson bursts in.NELSONWhat the hell is going on?He sees the key in the cabinet door, lunges toward it.SARANo! You can't do that! Get out!She tries to stand up and stop him from unlocking thecabinet, but she's too weak. Yanking open the cabinet,he gapes speechlessly at over 90 bottles of prescriptionmedicine. Sara weakly pulls herself to her feet.Gathering a last surge, she angrily rips the shelves fromthe cabinet, sending scores of bottles rolling around the floor.(CONTINUED)

SWEET NOVEMBER - Rev. 4/28/00 PM 100.103 CONTINUED: 103SARAThere. Is that enough truth foryou?! Are you happy now?Sara hurls bottle after bottle at Nelson. He standsthere dumbly, lets them bounce off him.SARAYou just couldn't leave it alone,could you?! You just had to know!She turns to leave -- her body literally collapses andshe starts to crash to the floor. Nelson grabs her, sheis limp in his arms. He gently lies her down, panickingas she grows increasingly faint.NELSONSara, talk to me...(as she doesn'trespond)Please... just talk to me, tellme what's wrong, so I can help.She closes her eyes. He is terrified, shakes her.Sara? Sara!NELSON104 INT. EMERGENCY ROOM - DUSK 104A bewildered Nelson sits in a curtained-off area in abusy emergency room, being grilled by a DOCTOR.Sara is conked out on a gurney, attached to an IV drip.DOCTORDo you have her medical records?No.NELSONDOCTORWho's her doctor, so I can trackthem down...NELSONI don't know who her doctor is.The Doctor looks at him, taking stock of this shellshockedman.(CONTINUED)

SWEET NOVEMBER - Rev. 4/28/00 PM 101.104 CONTINUED: 104DOCTORDo you have any idea what's wrongwith her?NELSONI'm sorry, I don't know anything.I called a friend of hers, maybehe...He peers around helplessly, sighs with relief when hesees Chas racing into the emergency room looking for him.105 INT. HOSPITAL HALLWAY - DUSK 105While Nelson stands off by himself, feeling exiled andhelpless, Chas confers with a NURSE outside Sara'shospital room. Nelson can see her in a bed, unconscious,hooked up to blinking machines and a web of IV's. Nelsonslowly comes over to Chas, taps him on the shoulder.NELSONI'm sinking. Fast.Chas and the Nurse exchange a look. The Nurse goes inthe room to check on Sara's vitals.Nelson is stunned.CHASI'm sorry you had to find out thisway, Nelson. She was diagnosed fouryears ago. It's a non-Hodgkinslymphoma.CHAS(shakes his head)Come on, let's get a drink.106 INT. BAR - NIGHT 106Nelson and Chas share a booth. Nelson has left his drinkuntouched, is desperately pumping Chas for information.NELSONWait a minute -- you said -- shestopped her treatments --(astonished)A year ago? How could she --(CONTINUED)

SWEET NOVEMBER - Rev. 4/28/00 102.106 CONTINUED: 106CHAS-- You're not listening, Nelson.For Christ's sake, bone marrowtransplants, chemo, experimentaltreatments... She stopped becausethey didn't work.(pauses)Nothing worked.Nelson finally takes a gulp of his drink to bracehimself. Tries to be brave.NELSONLook, I'm no doctor... but oneyear unchecked...Chas holds a clear honest gaze on NelsonCHASIt has spread everywhere.Nelson inhales sharply, like someone kicked him in thestomach. He is struggling not to cry and puts so muchenergy into the struggle, he deflects the emotion toanger.NELSONGod damn it. Talk about trust --talk about honesty -- how couldshe get involved with me and nottell me she was sick?Chas quietly sits there, lets him blow off steam.NELSONI mean, what was she thinking?CHASShe was thinking you'd be likeall the others. Just a month.That stops Nelson. Chas continues, his manner gentle,calm.CHASYou need to understand something,Nelson. Rules are how she copes.When life's out of control,people go to great lengths toinvent the illusion of control.(softly)Believe me, I know.(CONTINUED)

4/5/00 103.106 CONTINUED: (2) 106NELSONThe rift with her family? That'swhat it's about, isn't it? Herrules?(as Chas is silent)Oh come on, Chas, I love her too,you're not betraying her.Chas studies Nelson, nods.CHASYes. She saw what was coming, butthey wouldn't let go, kept tryingto run her disease. So she tookoff.NELSONAnd came here?CHAS(nods)She told me since she couldn'tlive a normal life, she was gonnalive an abnormal one, best wayshe knew how.Nelson hangs his head, trying to collect himself.NELSONI don't get it, she loves lifemore than anyone I know, howcould she just... give up?CHASShe's not giving up. She's makingthe most of what she's got left.NELSONBut... I'm saying... she shouldfight it, instead of accepting...CHASFate? Why? What's so bad aboutacceptance, Nelson?Suddenly, all the emotions pour through the cracks andNelson just bursts into tears and cries like a baby.107 INT. HOSPITAL - SARA'S ROOM - MORNING 107Nelson steps into her room. She is awake, but drained.The strain between them is so palpable you can touch it.They're like two people spiritually exposed for the firsttime.(CONTINUED)

4/5/00 104.107 CONTINUED: 107NELSONHi. Feeling any...SARA(can read his mind)You want to know why I didn't tellyou, don't you?He sits down on the chair by the bed. Nods.This is why.SARAShe gestures to the whole set up: the room, her in bed,him standing there looking stricken, afraid to move.SARALook at us, look at you. Youprobably think I'll break if youtouch me, I'll crumble if yousay one harsh word. You measureevery step, every thought...(pauses)That's not how I want you to be.He leans forward, takes her hand and kisses it.NELSONThen I will learn to be better.SARAOh God, Nelson. If anyone could,it's you.She runs her fingers through his hair. They are silenta few beats.SARAWill you help me do something?Anything.NELSONSARAGet me out of this hellhole. Idon't want to die here.108 INT. HOSPITAL - HALLWAY - DAY 108Nelson holding Sara tightly, she walks like a child oneggshells, every step hurts her. They pass a NURSE.(CONTINUED)

SWEET NOVEMBER - Rev. 4/28/00 PM 105.108 CONTINUED: 108NELSONShe just wants to take a strolldown the hall.The Nurse nods and doesn't make a peep. They keep goingdown the hallway, Sara's knees buckle and he quicklylifts her up, carries her the rest of the way to theelevator. The Nurse sees them get into the elevator.NURSE #2Wait! She can't leave the floor!109 EXT. HOSPITAL - DAY 109Hurrying, Nelson helps Sara outside. The lights andnoise of oncoming CARS disorients her. He stepstoward the street, shouts:NELSONTaxi!! Hang on, baby. We'llget you home.110 INT. SARA'S LOFT - DAY 110Chas and Brandon wait. Suddenly, the door swings open,and Nelson enters with Sara in his arms. She is moaning,in pain.BRANDONOh, sweetie, let me take her...Nelson precariously transfers Sara to Brandon's care.Brandon barks an order to Chas.BRANDONGet the donnetal and codeine.(to Sara)We've got a nice hot bath for you,baby.Nelson watches helplessly as Brandon leads her into thebathroom, where he and Chas remove her clothes. Nelsonis so bereft, all he can do is stand outside the bathroomand literally bang his head against the wall.He moves to the doorway as they are lowering Sara intothe tub. He can't help himself, has to say something.NELSONListen, Sara, I know doctors,I can call...(CONTINUED)

4/5/00 106.110 CONTINUED: 110Her eyes meet his, she is deeply humiliated, hisses to Chas.SARAShut the door, just shut thedoor! I don't want him here.Tell him to -- go!Nelson can't move. Chas comes out, gently pushes Nelsonout, closes the bathroom door behind him.NELSONI can't stand by and do nothing,just watch her...(can hardlysay it)Die.CHASThat's why she wants you to go.Wearing an ill-fitting coat and tie, Abner pushes throughthe front door. Chas immediately slips back into thebathroom and closes the door so Abner can't see.NELSONHey, Abner. Today's not gonnabe a great play day.ABNERNo, it's gonna be Father-SonDay. Did you forget?NELSONOh, God. I'm sorry, Ab, I can't.ABNERBut you promised.Abner looks shattered as Nelson struggles to remainpoised.Right.NELSON111 INT. SCHOOL - CLASSROOM - DUSK 111Teacher oversees a room of FOURTH-GRADERs and theirfathers.FOURTH-GRADERMy dad takes me fishing, too, andsometimes we go out for pizza andhe tells me about girls.(CONTINUED)

4/5/00 107.111 CONTINUED: 111The fathers chuckle as the boy sits. Glassy-eyed, Nelsonseems only half there, but he focuses when Abner stands.ABNERThis is Nelson. He's not my dad,but he does a lot of dad stuff,like he told me I should bemyself, and it was cool to becreative. And we made up agame called Dr. Shrink thatwas really fun. And he taughtme not to cheat. Mostly, he'smy friend.As Abner sits back down, Nelson smiles painfully.112 EXT. STREET - DUSK 112Nelson holds Abner's hand as they walk to Abner'shouse. Across the street, all the lights areblazing in Sara's loft.ABNERSee you tomorrow?NELSONI don't know, Ab. I'm probablynot gonna be around here tomorrow.How come?ABNERNELSONI gotta do some thinking, make atough decision.ABNERShe says you're not respectingher choices or something likethat?Nelson looks at him, stunned. How did he know that?ABNERI dunno, you always see that onTV, women complaining and stuff.NELSON(overwhelming)I think you're the coolest kidI've ever met, Abner.

4/5/00 108.113 INT. TAXI - NIGHT 113Nelson slumped in back, in a daze. Outside, tableaux ofthe city glide past the window: a couple kissingagainst a car, an ambulance careening down a street,SIRENS BLARING, a blind man gingerly heading up asidewalk, led by a seeing-eye dog.114 INT. NELSON'S APARTMENT - DAY 114The penthouse is a mess. The door to the deck is open,and the curtains billow in the cold WIND. Fully-clothed,Nelson sleeps on the couch.115 EXT. SAN FRANCISCO - NIGHT 115Nelson sits on a bench overlooking the bay. Unshaven andunkempt, he stares out at the water and the night.116 INT. SARA'S LOFT - DAY 116Though not up to full strength, Sara looks much betterthan the last time we saw her. She's pulling a tray ofmuffins from the oven. Chas is chopping vegetables;they're making Thanksgiving dinner.SARAOuch! Shit! You bastard!She has burned her hand, drops the tray and muffins splatterall over the floor. Chas immediately rushes over, concerned.SARAIt's nothing, just a teenytiny little... ouch.Her face is red and mottled from trying not to cry.SARAReally, I'm fine, I'm reallyfine, we're going to have funtonight. Fun is a greatThanksgiving...(voice wobbles)Tradition.Come here...CHASShe walks over and Chas enfolds her in a big hug. She isspinning, really distraught, afraid of what she's feeling.(CONTINUED)

4/5/00 109.116 CONTINUED: 116SARAHe asked me to marry him.CHASHe's not the first.SARAIt's the first time I wanted tosay yes.Did you?CHASSARANo. I let the whole thing go toofar.For...CHASSARABoth of us. Besides it's a mootpoint. He's gone.She leans down to pick up the broken muffins strewn allover the floor.CHASHe'll be back.SARAI don't want him to come back.Look what I did to the muffins.She's becoming unraveled, has to keep the subjectchanged.SARAMaybe I can salvage a few ofthese...CHASYou know, it's okay to break yourown rules, Sara.SARAWhere's the mix? I'll startagain --CHASYou didn't mean to fall in love,but you did... it's okay to admityou need him.(CONTINUED)

SWEET NOVEMBER - Rev. 4/28/00 110.116 CONTINUED: (2) 116She stands up and throws some of the muffins into thewastebasket.SARAStop it, would you?She spins around to face him, eyes glittering.SARAWhat rule says I should put himthrough hell? All it will do ishurt him.CHASHe'll hurt no matter what.(pauses)Maybe you should let him decide.SARAMy life is not his decision.She turns her back on him, needs to compose herself.SARAYou shouldn't keep Brandonwaiting.He nods and starts to head out, stops.CHASLet yourself have some happiness,honey. You're entitled.117 OMITTED 117&&118 118119 INT. LOFT - LATER 119The table is set with a motley collection of mismatchedplates and silver, decorated with Abner's puppets. Thefeast is laid out for Brandon, Chas, Abner, Al andOsiris. Al raises a glass of wine in toast.ALHappy we-stole-your-land-andkilled-your-peopleday.Suddenly, CHRISTMAS MUSIC BLASTS and Sara bolts up asNelson swings in through the window over the fire escape.He is dressed as Santa Claus, carries a huge pack.(CONTINUED)

SWEET NOVEMBER - Rev. 5/18/00 111.119 CONTINUED: 119NELSONMerry Christmas, Sara!SARAYou mean, Thanksgiving.NELSONNot for you. You shouldn't haveto wait.Astonished and moved, all of Sara's friends make a moveto leave.CHASMaybe we'll grab a turkey pot pieat the coffee shop.(pauses)Nice to see you, Nelson.Nelson nods, watches all of them leave, then turns backto Sara. He regards her with such tenderness, she isstruck speechless. He unties his big bag.NELSONFor you, sweet Sara, I bring thetwelve gifts of Christmas.As Nelson describes each gift, he removes it from thepack and hands it to Sara, beginning with a big salami.NELSONOne: The famous Columbo log.The salami that started it all.(digs out anothergift -- wigs)Two: A kaleidoscope of coiffuresfor the Barking Mad Pet Crusader.He plops a wig on her head and returns to his bag.NELSONThree: A bullwhip for the dizzydominatrix. So you can rule yourworld in style, and whip me intoshape.He cracks the whip, and Sara shrieks.NELSONFour: 'Sara,' a custom-madefragrance capturing that specialsomething a woman leaves on a man.He opens the bottle and passes it under her nose.(CONTINUED)

SWEET NOVEMBER - Rev. 5/18/00 112.119 CONTINUED: (2) 119SARAOh, Nelson. This is...NELSON... only the beginning. Five:Why Is Harriet So Hairy?, thedefinitive guide to understandingour transvestite friends.(another gift)Six! Tiny Bubbles -- for thoseleisurely soaks we love so much.He hands her the bottle of bubble bath, then pulls out aplastic Muni train, shakes it.NELSONSeven: A hundred Muni traintokens for the the many, manygreat rides of your life.He hands her the bus, then pulls out a C.D.NELSONEight: A collection of musicto swoon by. Which fits nicelywith gift number nine...He grabs her and spins her around the floor as he handsher some vouchers.NELSONDance classes at Mildred's Academyof Dance, guaranteed to get youoff my toes in a week.He runs to the door. Opens it.NELSONTen: For the gentlelady who hatesdoing the dishes... a dishwasher.SARANelson, please, this is toomuch...Nelson runs back to the door, reaches for a sack.NELSONIt's not enough. Eleven: Live inyour loft, back by popular demand,I give you...He shakes open the sack, out tumbles Ernie, the puppy.(CONTINUED)

SWEET NOVEMBER - Rev. 5/18/00 113.119 CONTINUED: (3) 119Ernie!NELSONCompletely overwhelmed, Sara wraps her arms around Ernieand kisses him.NELSONAnd if this last gift doesn'tprove how much I love you, nothingwill.LOUD MUSIC KICKS IN as we --CUT TO:120 INT. CABARET - NIGHT 120On stage, Nelson, wearing a white dinner jacket and blacktie, sings "Time After Time."In the audience, Sara watches with glee as Nelson singsdirectly to her. Meanwhile, the diverse crowd goes wildfor the rare, unabashedly heterosexual performance.121 INT. SARA'S BUILDING - STAIRWELL - NIGHT 121Sara and Nelson arrive at Sara's door.(CONTINUED)

SWEET NOVEMBER - Rev. 5/8/00 114.121 CONTINUED: 121SARAYou were brilliant, Nelson, butI'm afraid I'm going to lose youto Vegas.Nope.Never.(pauses)NELSON122 INT. SARA'S LOFT - NIGHT 122Sara enters and freezes. Novembers torn from innumerablecalendars are everywhere.Every reachable inch of wall space and half the furnitureare covered with the month. Nelson walks up behind Saraand wraps his arms around her.NELSONLook around, Sara... every monthis November... and I love youevery day.SARABut, Nelson... it's almost over.Nelson spins her around to face him.NELSONWho told me once that we see theworld we choose to see?(pauses)This is our month and it neverhas to end.SARABut you know that I'm --Nelson kisses her lightly on the lips.NELSONI surrender all attempts to controllife, yours or mine. I live forone thing: to love you. To makeyou happy. To live firmly andjoyously in the moment. Novemberis all I know and all I ever wantto know.(CONTINUED)

4/5/00 115.122 CONTINUED: 122Conflicting currents of joy and sadness play acrossSara's face. She kisses Nelson and hugs him with allher might.SARABy the way, that was three things.123 INT. DMV - TEST ROOM - DAY 123Sara retakes the driving test.124 EXT. DMV - DAY 124Sara exits waving her license, and Nelson wraps his armaround her.NELSONOkay, hot shot, now that you haveyour license, what do you wannado?Take a walk.SARA125 EXT. STREET - DAY 125They are walking down the street, taking in all thefamiliar sights of the street.DISSOLVE TO:125A INT. MUNI TRAIN - DAY 125AThe two of them licking ice cream cones as they look outthe train window, talking and laughing.126 OMITTED 126127 INT. SARA'S LOFT - NIGHT 127Nelson and Sara gently make love.As the BELLS of the nearby CHURCH RING TWELVE ominoustimes, Sara stares at the large wall calendar. Every dayof November but the last has been crossed off. KissingSara's neck, shoulders and breasts, Nelson doesn't seeher anguished face.

4/5/00 116.127A INT. SARA'S LOFT - SERIES OF SHOTS - NIGHT (LATER) 127Aover the course of the night: Nelson and Sara soundasleep in each other's arms.Later, they disengage their hold, still asleep.Later, they come back together, embrace, still sleeping.Later, Nelson still asleep, Sara awake, reflecting.Later, Sara studying Nelson's face in repose, she iscoming to a decision.128 OMITTED 128thruthru130 130131 INT. SARA'S LOFT - DAWN 131Nelson wakes up as dawn is breaking, surprised to seeSara's not in bed with him. He peers around, sees herfully-dressed, pulling the Novembers off the wall oneby-one.Most are already piled up in her arms.NELSONWhat are you doing?Removing the last calendar, Sara opens her trunk. Mostof the gifts Nelson gave her are inside. She adds thecalendars.SARAI thought I'd keep half. I putthe other half in your bag.Sara drapes Nelson's travel bag over his shoulder.NELSONSara, stop this, please...Sara crosses the last day of November off the largecalendar. Then she tears the month off, revealingDecember.SARAIt's time for you to go, Nelson.NELSONWhat are you talking about?SARAOur month is over.(CONTINUED)

4/5/00 117.131 CONTINUED: 131NELSONHaven't we been through this ahundred times before? I'mnot going anywhere.She puts on a jacket.SARAI made you agree to a month for areason.NELSONBecause you're sick? I don't careif you're sick. The only thing Icare about is you.SARAThen that's why you should go.No.NELSONSARAYou said you would stop trying tocontrol life, yours and mine.(firmly)Now you have to keep your word.She wraps a scarf around her neck, turns and heads towardthe door.NELSONWhere are you going?SARAOut. To give you time to leave.132 EXT. SARA'S BUILDING - DAWN 132Sara steps into the dawn, trying to stay calm. Suddenlybreaks into a run as if she has to flee everything.Nelson careens out of the building in pursuit,practically dressing as he runs, throwing a jacket on.NELSONSara! Stop it! Come on, comeback!133 EXT. CITY - DAWN 133Nelson chases Sara through the streets.Sara!NELSON

SWEET NOVEMBER - Rev. 4/28/00 118.134 EXT. PARK - DAWN 134The park is deserted. Halfway through, Nelson catchesher. They both gasp for air.NELSONSara, stop it. Will you pleasestop this, I'm not leaving you --I know you love me.SARAI do, Nelson. I've never feltanything like it. I never thoughtI'd have the chance and you gavethat to me.NELSONThen why are you doing this?SARABecause it's starting to happen,Nelson --NELSON-- It doesn't --SARA-- If you leave now, everythingwe had will stay perfect forever ---- Sara --NELSONSARA-- All we have is how you'llremember me and I need that memoryto be strong and alive --NELSON-- But I want --SARA-- If I know I'm remembered thatway then I can face anything.Can't you see, Nelson, you're myimmortality.NELSONI want to take care of you, Sara.SARAI'll be alright. I'm going home.They know I'm coming. They'reready.(beat)You said I come first.(CONTINUED)

4/5/00 119.134 CONTINUED: 134You do.NELSONSARAThen try and understand. I needto do this.NELSONIt just doesn't seem...SARAJust like I need to know you'll goon and have the beautiful life youdeserve. I want you to fall inlove again someday, be a husband,have a family.NELSONI only want you.SARAYou have me forever. Now let mego.NELSONI can't believe you've even gotme considering this.(long pause)This is truly what you want.Yes. It is.SARANELSONAlright, Sara, alright.SARAClose your eyes, this time countto twenty. Go ahead.Nelson soaks up as much of her as he can. Thenreluctantly, he closes his eyes. Sara blindfoldshim with the scarf.NELSON... One, two, three, four, five,six --Sara stands on her tiptoes and whispers in his ear.SARAI love you, Nelson Moss.(CONTINUED)

4/5/00 120.134 CONTINUED: (2) 134NELSONI love you, Sara Deever.Remember me.SARANELSON... Seven, eight, nine, ten,eleven --As Nelson continues counting, Sara walks to a spot twentyyards behind him and waits at the foot of a statue.NELSON... Twelve, thirteen, fourteen,fifteen, sixteen, seventeen,eighteen, nineteen, twenty.Nelson steps forward. Then, turning, he walks straighttoward the statue and arrives at the exact spot Sarastood just a moment before.Slowly, he removes the scarf. Sara, of course, is gone.All around Nelson, shades of the park emerge in thedawning light.Looking down at the scarf in his hands, Nelson smiles.At the same time, dawn breaks, piercing the park withglimmering, amber light.Carefully wrapping the scarf twice around his neck,Nelson walks out of the park and into the street, justas a red Muni train slowly makes its way across theawakening city, its empty windows aglow in the dawn.FADE OUT.THE END