<script>
  <scene>
    <scene_description>Mother and Child by Rodrigo García 15, TOM. It's heated and clumsy. At one point they break apart and Karen looks at the boy's face, completely infatuated. She takes off her shirt and they kiss again.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PREGNANT GIRLS' HOME - DAY</stage_direction>
    <scene_description>1973: Karen and other pregnant teenagers sit around a room knitting or listening to one of them read a book out loud.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DELIVERY ROOM - NIGHT</stage_direction>
    <scene_description>1973: KAREN during labor, screaming. Then, a silent image: a new born BABY GIRL in a hospital bassinet, crying at the top of her lungs. We see her from an angle where the baby's face can hardly be made out, adults crossing back and forth in front of her. Finally the bassinet is rolled away. Fade to black and to a title: 36 years later CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. DAY/NIGHT</stage_direction>
    <scene_description>Views of residential streets in the San Fernando valley, mostly without pedestrians. Front and back yards. A swing. Old flower pots. An empty birdcage. Days into dusks into nights. We hear music over these images: a child's piano lesson.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. KAREN'S ROOM - NIGHT</stage_direction>
    <scene_description>Close on KAREN -- NOW AGE 50 -- while she sleeps. There is perspiration on her brow and she stirs and mumbles, in the grip of a nightmare. She wakes up suddenly, scared and disoriented.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MOTHER'S BEDROOM - NIGHT</stage_direction>
    <scene_description>Karen's mother NORA, a woman in her eighties, is asleep on the bed, facing the wall. Karen comes into the room, gets into bed with her and closes her eyes. Karen is eating breakfast across from Nora. They eat in silence. Then:</scene_description>
    <character>KAREN</character>
    <dialogue>Her birthday is coming up. She'll be thirty-seven.</dialogue>
    <scene_description>Nora says nothing.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LAW OFFICES - DAY</stage_direction>
    <scene_description>A woman in her late thirties, ELIZABETH, is being interviewed by PAUL, an African-American man in his mid- fifties, a senior partner in the law firm. Through glass walls we see the very busy office.</scene_description>
    <character>PAUL</character>
    <dialogue>I spoke to Bill Colden and he said you were one of the best attorneys he's ever worked with. And I know Bill; praise doesn't come easy to him.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>We had a good relationship. He runs that firm well.</dialogue>
    <character>PAUL</character>
    <dialogue>Yes, he does. Tell me about what you consider your professional strengths.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>I don't believe in improvisation. I prepare my cases rigorously. I'm on top of clients and I handle them well. I protect them from themselves. I prefer to work by myself on a project but I can work well in a team if necessary. I work equally well with men or with women but I prefer to report to a man.</dialogue>
    <character>PAUL</character>
    <dialogue>Why is that?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>Many women find me threatening. That makes for a difficult working relationship with a woman supervisor. Would I be reporting to you?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>So we would have nothing to worry about.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>PAUL</character>
    <dialogue>Why do you think women find you threatening?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>I'm not in the sisterhood. I am my own person.</dialogue>
    <character>PAUL</character>
    <dialogue>Do you believe most women are not their own person?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>Yes. Neither are men, for that matter. Everyone is so eager to please.</dialogue>
    <scene_description>Paul returns to the papers in front of him.</scene_description>
    <character>PAUL</character>
    <dialogue>I've noticed that you've moved to and from this area several times.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>I've gone wherever I've had to go to get ahead.</dialogue>
    <character>PAUL</character>
    <dialogue>But you always return.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>This part of the world is as good as any.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>PAUL</character>
    <dialogue>Well, Elizabeth, your resume is exceptional. It's no secret that you would be an asset to us.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>I would not disappoint you.</dialogue>
    <scene_description>background. Elizabeth thinks about it for a moment.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>I was born here, in Los Angeles, and I was given up for adoption on the day of my birth. My mother was fourteen when I was born. That is all I know about her. My adoptive father died when I was ten. My adoptive mother and I are not close. My name, Elizabeth Joyce, is a name that I picked out for myself in junior high school. It's my legal name now; I don't go by any other. I live alone; I have since I turned seventeen. I've never been married and have no plans to marry. I value my independence above all things. That way I don't have expectations to fulfill. Other than my own, which are great enough.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>That's all she wrote.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. ADOPTION AGENCY - DAY</stage_direction>
    <scene_description>An African-American couple in their thirties, LUCY and JOSEPH sit across from a nun in her fifties, SISTER JOANNE.</scene_description>
    <character>LUCY</character>
    <dialogue>We've been married for four years. We tried from the beginning but we haven't been able to. And we kept hoping, you know, against hope, like they say. But it's just not going to be. We know that now. We're resigned to it. We're not bitter, I don't think. Do you think we're bitter about it?</dialogue>
    <scene_description>Joseph shakes no.</scene_description>
    <character>LUCY</character>
    <dialogue>We're not. We could make good parents. Joseph is a very tender man. He's affectionate.</dialogue>
    <character>SISTER JOANNE</character>
    <dialogue>It depends on the circumstances. Sometimes the biological parents and the adoptive parents agree on a name.</dialogue>
    <character>LUCY</character>
    <dialogue>We would agree to agree.</dialogue>
    <scene_description>Lucy laughs by herself. Then seriously:</scene_description>
    <character>LUCY</character>
    <dialogue>We're ready now. To adopt. Blood is important, I think, but it's the time spent together that really matters. Isn't that right?</dialogue>
    <scene_description>Joseph nods yes. A beat.</scene_description>
    <character>LUCY</character>
    <dialogue>We're good people.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. PARKING LOT - DAY</stage_direction>
    <scene_description>Lucy and Joseph walk to the car.</scene_description>
    <character>LUCY</character>
    <dialogue>Oh, my god.</dialogue>
    <character>JOSEPH</character>
    <dialogue>What?</dialogue>
    <character>LUCY</character>
    <dialogue>Why didn't you shut me up?</dialogue>
    <character>JOSEPH</character>
    <dialogue>It's all right. Everyone who comes to her office is nervous.</dialogue>
    <character>LUCY</character>
    <dialogue>That whole speech about time spent together... where the hell did I get that? Jesus. Why didn't you open your mouth?</dialogue>
    <character>JOSEPH</character>
    <dialogue>She liked you.</dialogue>
    <character>LUCY</character>
    <dialogue>You think?</dialogue>
    <character>JOSEPH</character>
    <dialogue>Yes. Relax.</dialogue>
    <character>LUCY</character>
    <dialogue>How does that feel?</dialogue>
    <character>JOSEPH</character>
    <dialogue>It feels okay.</dialogue>
    <character>LUCY</character>
    <dialogue>Just okay, babe?</dialogue>
    <character>JOSEPH</character>
    <dialogue>It's good.</dialogue>
    <scene_description>She smiles at him, happy that he's happy. She speaks almost to herself.</scene_description>
    <character>LUCY</character>
    <dialogue>Please, God, let us find a baby.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. THERAPY POOL - DAY</stage_direction>
    <scene_description>An indoor swimming pool used for hydrotherapy and water aerobics. Most of the patients are elderly and frail. Karen is one of the therapists and she's in the pool, receiving and elderly patient that two other therapists help into the water. Karen sees a LATINO MAN of about 50, PACO, being introduced to other therapists like he's new on the job. He notices Karen and the patient and smiles. Karen looks at him blankly, then looks away. Then, to the old woman:</scene_description>
    <character>KAREN</character>
    <dialogue>Is that man flirting with you?</dialogue>
    <scene_description>The old woman smiles and continues with her exercises. Karen steals another look at Paco.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOUSE - AFTERNOON</stage_direction>
    <scene_description>Karen comes into the house. Her mother is alone in the living room, asleep in a rocking chair. Mexican music plays in the next room. Karen walks into the kitchen. SOFIA, a Hispanic woman in her late thirties, is ironing clothes while her seven year old daughter, CRISTI, is undressing a doll.</scene_description>
    <character>KAREN</character>
    <dialogue>Hi.</dialogue>
    <character>SOFIA</character>
    <dialogue>Hello. Say hello to Karen, mija.</dialogue>
    <character>CRISTI</character>
    <dialogue>Hi, Karen.</dialogue>
    <scene_description>Karen smiles a stiff little smile without looking at the girl. Sofia begins to put away the ironing board.</scene_description>
    <character>SOFIA</character>
    <dialogue>Your mother had a good day. She ate really well.</dialogue>
    <character>KAREN</character>
    <dialogue>How long has she been asleep?</dialogue>
    <character>SOFIA</character>
    <dialogue>For about half an hour. She needed it. I can change her into the night gown before I go.</dialogue>
    <character>KAREN</character>
    <dialogue>I'll do that.</dialogue>
    <character>SOFIA</character>
    <dialogue>I'm going to come in a little late tomorrow.</dialogue>
    <scene_description>She grabs her sweater and handbag and an ipod and little speakers that she's set up on the kitchen counter.</scene_description>
    <character>KAREN</character>
    <dialogue>Okay.</dialogue>
    <character>SOFIA</character>
    <dialogue>It's back to school day for this one.</dialogue>
    <scene_description>Karen hasn't so much as turned in the direction of the little girl. Sofia and the girl exit the kitchen. leaving Sofia caresses Nora's forehead. The old woman is still asleep.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MOTHER'S BEDROOM - NIGHT.</stage_direction>
    <scene_description>Karen is tucking her mother into bed. The woman lies on her side and cuddles up in the fetal position, like a child, but remains with her eyes open. Karen checks her mother's fingernails for length.</scene_description>
    <character>KAREN</character>
    <dialogue>These need clipping.</dialogue>
    <scene_description>Nora pulls away her hand softly.</scene_description>
    <character>KAREN</character>
    <dialogue>I'm going to look for a new person for you. Sofia never asked if I minded that she brought the girl over while school was out. I don't know what I would have said but she should of asked.</dialogue>
    <scene_description>Nora talks without looking at Karen:</scene_description>
    <character>NORA</character>
    <dialogue>You cannot fire her.</dialogue>
    <scene_description>After a beat the old woman closes her eyes.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. APARTMENT - NIGHT</stage_direction>
    <scene_description>Elizabeth sits on the sofa reading a novel. The doorbell rings. She ignores it, reads on. It rings again. She gets up, walks to the door and looks through the peep hole. It's a PREGNANT WOMAN, flower pot in hand, with a man in his thirties. Elizabeth opens the door. They are TRACY and STEVEN.</scene_description>
    <character>TRACY</character>
    <dialogue>Hi. We're Tracy and Steven. We're next door. We just wanted to say hello and welcome you to the building.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>Thank you.</dialogue>
    <character>TRACY</character>
    <dialogue>We only moved in two months ago, so we know what it's like not to know anyone around here. It feels like a pretty safe building, though. Don't you think? We think so.</dialogue>
    <scene_description>While Tracy speaks Elizabeth looks back and forth between Steven and her.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>Yes. It's quiet.</dialogue>
    <character>TRACY</character>
    <dialogue>You're here all by yourself, right?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>That's right.</dialogue>
    <character>TRACY</character>
    <dialogue>Yes. I told Steven I thought you were. Didn't I?</dialogue>
    <character>STEVEN</character>
    <dialogue>Yes.</dialogue>
    <character>TRACY</character>
    <dialogue>It's mostly single people in the building. No children. So far.</dialogue>
    <scene_description>A beat. Tracy looks quickly beyond Elizabeth to the interior of the apartment.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>Sorry, I'm just in the middle of something.</dialogue>
    <character>TRACY</character>
    <dialogue>Oh, don't worry. We'll talk again. I'm home most of the day. Come by for a cup of sugar.</dialogue>
    <character>STEVEN</character>
    <dialogue>Nice meeting you.</dialogue>
    <scene_description>Elizabeth shuts the door as they walk away. Joseph is on top of Lucy as they make love. The phone rings.</scene_description>
    <character>LUCY</character>
    <dialogue>That's my mother.</dialogue>
    <scene_description>They practically freeze as Lucy strains to hear her mother's voice on the answering machine.</scene_description>
    <character>ADA (V.O.)</character>
    <dialogue>Lucy. Are you there? Lucy? Lu? Are you there or aren't you? (a beat) Lucy? Lucy? (She whistles) Okay. You're not there. (She whistles again, then silence). Lucy?</dialogue>
    <character>LUCY</character>
    <dialogue>Jesus. Why does she do that?</dialogue>
    <character>ADA (V.O.)</character>
    <dialogue>Call me, okay? I'll try you back in a little while. Hello? Hel-lo-o? I don't know if this is still recording or if I got cut off. Is it still recording? Okay. Bye. Call me.(a beat) Lucy?</dialogue>
    <scene_description>She hangs up. They slowly start up again. Lucy tries to get into it but soon gives up.</scene_description>
    <character>LUCY</character>
    <dialogue>I can't. I lost it.</dialogue>
    <character>JOSEPH</character>
    <dialogue>Come on, Lucy.</dialogue>
    <character>LUCY</character>
    <dialogue>I'm sorry. You go ahead, you come, baby. Go ahead, I'll watch you.</dialogue>
    <scene_description>He starts up again. Lucy kisses Joseph's forehead, chin, nose and eyes gently, observing him. She hums a melody for him. OMITTED Karen is writing in her notebook, hunched over it like a schoolgirl taking an exam.</scene_description>
    <character>KAREN (V.O.)</character>
    <dialogue>I had a new dream a couple of days ago. I come home and try to get in but my key breaks inside the lock. I look through the window and I can see you in my bed, sleeping. I go in through the back door and I walk up to you and smell your breath. It smells of another woman's breast milk -- not mine. And the bed is wet. You've wet the bed and I start to cry because I don't have clean sheets to make it fresh.</dialogue>
    <scene_description>The new guy, PACO, walks into the room and smiles at her while he pours himself a cup of coffee. Karen just closes her notebook and looks away. Paco walks over to the table.</scene_description>
    <character>PACO</character>
    <dialogue>I didn't mean to stare. Paco.</dialogue>
    <scene_description>He offers his hand and then they shake.</scene_description>
    <character>PACO</character>
    <dialogue>Karen, right?</dialogue>
    <scene_description>Karen says nothing.</scene_description>
    <character>PACO</character>
    <dialogue>Clara told me your name.</dialogue>
    <character>KAREN</character>
    <dialogue>Clara. What else did she say about me?</dialogue>
    <character>PACO</character>
    <dialogue>Nothing else.</dialogue>
    <character>KAREN</character>
    <dialogue>She always has time on her hands to be talking to someone. That's why her work stinks.</dialogue>
    <scene_description>Karen sees that another physiotherapist has come in for coffee and she returns to her writing. Paco walks away. A bakery owned and managed by Lucy. It's pretty busy. Lucy is putting the final touches on a cake while her mother, ADA, hovers.</scene_description>
    <character>ADA</character>
    <dialogue>Was this your idea or his?</dialogue>
    <character>LUCY</character>
    <dialogue>Please don't start. I need for you to be with me on this.</dialogue>
    <character>ADA</character>
    <dialogue>I am with you. I'm just wondering whose idea it was.</dialogue>
    <character>LUCY</character>
    <dialogue>It's my idea.</dialogue>
    <scene_description>An employee walks between them. A beat.</scene_description>
    <character>ADA</character>
    <dialogue>That mother-in-law of yours is going to blow a gasket. Her prince raising the child of a stranger.</dialogue>
    <scene_description>Ada chuckles. Lucy doesn't think it's amusing. She starts to put the cake in a box.</scene_description>
    <character>LUCY</character>
    <dialogue>And what about you? Are you going to love this baby or not?</dialogue>
    <character>ADA</character>
    <dialogue>Well, there's no baby to speak of yet. What's the next step?</dialogue>
    <character>LUCY</character>
    <dialogue>We're meeting a woman on Monday. She's six months pregnant.</dialogue>
    <character>ADA</character>
    <dialogue>And she just now decided to give up the baby?</dialogue>
    <character>LUCY</character>
    <dialogue>No. Apparently she's already turned down several couples.</dialogue>
    <scene_description>There's an argument that you'd be doing her a favor.</scene_description>
    <character>LUCY</character>
    <dialogue>Nobody is doing anybody a favor, mom. Everyone stands to win.</dialogue>
    <scene_description>A beat. Ada is not so convinced.</scene_description>
    <character>ADA</character>
    <dialogue>There's so much positioning with everything nowadays. Motherhood should be a much simpler thing than this.</dialogue>
    <scene_description>Lucy can't believe what she has just heard. She fights back her rage and tears.</scene_description>
    <character>ADA</character>
    <dialogue>Oh, Lucy -- I'm sorry. That was a horrible thing to say. I'm sorry, Lu. I'm an idiot. Forgive me, please. I'm sorry.</dialogue>
    <scene_description>She means it.</scene_description>
    <character>LUCY</character>
    <dialogue>You really wear me out, mom. I love you - - but between my daughter and I things will be different. I've promised myself that already.</dialogue>
    <scene_description>Ada is hurt.</scene_description>
    <character>ADA</character>
    <dialogue>Thank you for that, Lucy.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. ELIZABETH'S OFFICE - DAY</stage_direction>
    <scene_description>Elizabeth is arranging things in her new office. She is unaware that Paul observes from the open door.</scene_description>
    <character>PAUL</character>
    <dialogue>We've given you one of our best offices.</dialogue>
    <scene_description>She turns and sees him.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>And what have I done to deserve it?</dialogue>
    <scene_description>you.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>As well you should.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>PAUL</character>
    <dialogue>Any questions, concerns?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>No.</dialogue>
    <character>PAUL</character>
    <dialogue>Dinner tomorrow to welcome you aboard. Eight fifteen at La Provencal. Do you know it?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>Yes.</dialogue>
    <character>PAUL</character>
    <dialogue>I'll see you there.</dialogue>
    <scene_description>He leaves.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. KAREN'S BEDROOM - NIGHT</stage_direction>
    <scene_description>Karen is brushing Nora's hair and tying it back in a bun. She brushes it back hard and tight.</scene_description>
    <character>NORA</character>
    <dialogue>How's work?</dialogue>
    <scene_description>Karen is surprised, like Nora seldom asks.</scene_description>
    <character>KAREN</character>
    <dialogue>It's good. There's a new training program, to work with people who are recuperating from chemotherapy. They asked if any of us were interested and I said yes. They'll pay us to learn so that's good, isn't it?</dialogue>
    <scene_description>Karen nods. A beat.</scene_description>
    <character>KAREN</character>
    <dialogue>There's a new therapist. This man my age.</dialogue>
    <character>KAREN</character>
    <dialogue>He's a little...(she searches for the right term) ... heavy set. And he's graying, you know.</dialogue>
    <scene_description>Karen shows the area on her own head.</scene_description>
    <character>KAREN</character>
    <dialogue>He's friendly. Everybody likes him.</dialogue>
    <scene_description>yourself up for falls. Karen tries not to show her disappointment.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. THERAPY POOL - DAY</stage_direction>
    <scene_description>Karen works on stretches with a patient while a young assistant therapist looks on. She sees Paco walking towards her.</scene_description>
    <character>KAREN</character>
    <parenthetical>(to the assistant therapist)</parenthetical>
    <dialogue>Here comes Valentino.</dialogue>
    <scene_description>She makes the assistant smile. Karen hands the patient over and turns to write in the patient's file. Paco walks up.</scene_description>
    <character>PACO</character>
    <dialogue>Hey. I feel like we got off on the wrong foot.</dialogue>
    <character>KAREN</character>
    <dialogue>Why do you say that?</dialogue>
    <character>PACO</character>
    <dialogue>You were upset when...</dialogue>
    <character>KAREN</character>
    <dialogue>You don't know me well enough to know if I was upset.</dialogue>
    <scene_description>Paco doesn't know what to add. Karen is looking straight at him but says nothing else. Paco walks away. After a moment she says to herself:</scene_description>
    <character>KAREN</character>
    <dialogue>Karen. Stupid idiot.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. UNIVERSITY CAMPUS - DAY</stage_direction>
    <scene_description>An African-American woman in her early forties, LETICIA, walks the hallway, apparently looking for someone. A conference room opens and a class lets out. Among the students is a YOUNG WOMAN. She is six months pregnant and she is Letitia's daughter, RAY. When Ray sees Leticia she changes direction to avoid her. Leticia follows anyway. Leticia catches up and walks along Ray, who keeps walking like she's alone.</scene_description>
    <character>LETICIA</character>
    <dialogue>Can we talk? How are you, honey? Are you well? You look good.</dialogue>
    <character>RAY</character>
    <dialogue>You have booze on your breath.</dialogue>
    <character>LETICIA</character>
    <dialogue>I do not. I don't.</dialogue>
    <character>RAY</character>
    <dialogue>You reek.</dialogue>
    <character>LETICIA</character>
    <dialogue>Don't say that. I haven't had a drink in four months. One hundred and eleven days.</dialogue>
    <character>RAY</character>
    <dialogue>You're a lying sack of shit.</dialogue>
    <scene_description>Leticia slows down, letting Ray get away. Leticia turns and walks away. Ray takes a look over her shoulder, sees Leticia walking away and stops. After a beat she goes after her.</scene_description>
    <character>RAY</character>
    <dialogue>Hey! Mom, wait!</dialogue>
    <scene_description>Ray catches up to Leticia.</scene_description>
    <character>RAY</character>
    <dialogue>Wait up. Let's talk.</dialogue>
    <character>LETICIA</character>
    <dialogue>Fuck you.</dialogue>
    <scene_description>Ray lags behind.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PARKING LOT - AFTERNOON</stage_direction>
    <scene_description>Karen walks out of the building and walks towards her car. She sees Paco backing out of his spot and driving towards her. Karen waits as he drives by. He sees her, stops and rolls down his window. home. I'm getting a cup of coffee. Paco just looks at her: it's not much of an invitation.</scene_description>
    <character>PACO</character>
    <dialogue>Mind if I join you?</dialogue>
    <scene_description>She nods then turns towards her car. He laughs.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DINER - AFTERNOON</stage_direction>
    <scene_description>Karen and Paco sit in a booth. A WAITRESS takes their order.</scene_description>
    <character>KAREN</character>
    <dialogue>Coffee, black, please.</dialogue>
    <character>PACO</character>
    <dialogue>Same here. And I'll have the apple pie.</dialogue>
    <scene_description>The waitress leaves.</scene_description>
    <character>PACO</character>
    <dialogue>I can't seem to stay away from apple pie.</dialogue>
    <character>KAREN</character>
    <dialogue>You should watch your weight.</dialogue>
    <scene_description>She regrets it the moment she says it. Paco takes it well and just laughs.</scene_description>
    <character>PACO</character>
    <dialogue>Yes, I should. How long have you been at the clinic?</dialogue>
    <character>KAREN</character>
    <dialogue>Six years and six months. April 11, 2003 was my first day.</dialogue>
    <character>PACO</character>
    <dialogue>You have a good memory.</dialogue>
    <character>KAREN</character>
    <dialogue>Yes. I was at Westside Memorial for eleven years before that.</dialogue>
    <character>PACO</character>
    <dialogue>That's a good place.</dialogue>
    <scene_description>supervisor. She was sloppy and she needed me to pick up the slack for her. I grew tired of it and I told her so. She had me fired. The waiter comes by to pour the coffee. Karen touches her cup.</scene_description>
    <character>KAREN</character>
    <dialogue>This is cold.</dialogue>
    <scene_description>She picks up the cup and saucer and gives it back to the waitress who takes it away. Paco is okay with his coffee.</scene_description>
    <character>KAREN</character>
    <dialogue>What about you?</dialogue>
    <dialogue>the Bay Area. I've been a therapist for four years. Before that I drove for a car company. I'm divorced. I'm already a grandfather -- can you believe it? My daughter Melissa is twenty-eight. She has twins. Not exactly planned but what can you do. She's happy. She's still living up there.</dialogue>
    <scene_description>Karen says nothing.</scene_description>
    <character>PACO</character>
    <dialogue>What else do you want to know?</dialogue>
    <character>KAREN</character>
    <dialogue>We don't have to interrogate each other. This is not a date.</dialogue>
    <character>PACO</character>
    <dialogue>Interrogate. That's a harsh word.</dialogue>
    <scene_description>Paco drinks his coffee.</scene_description>
    <character>PACO</character>
    <dialogue>Do you live by yourself?</dialogue>
    <character>KAREN</character>
    <dialogue>No.</dialogue>
    <scene_description>She adds nothing else. Paco chuckles.</scene_description>
    <character>KAREN</character>
    <dialogue>What's so funny?</dialogue>
    <character>PACO</character>
    <dialogue>Nothing. I just can't seem to say the right thing around you. And I'm trying, believe me.</dialogue>
    <character>KAREN</character>
    <dialogue>What do you mean?</dialogue>
    <character>PACO</character>
    <dialogue>I feel like I'm always putting my foot in my mouth and I don't know why.</dialogue>
    <scene_description>A beat. She doesn't take her eyes off him.</scene_description>
    <character>PACO</character>
    <dialogue>Listen, I'm sorry. Forget I said that. I don't know what I'm talking about.</dialogue>
    <character>PACO</character>
    <dialogue>Oh, I didn't mean that.</dialogue>
    <character>KAREN</character>
    <dialogue>You're not comfortable with me.</dialogue>
    <character>PACO</character>
    <dialogue>No, I am.</dialogue>
    <character>KAREN</character>
    <dialogue>My words are too harsh for you.</dialogue>
    <character>PACO</character>
    <dialogue>No, no. I...</dialogue>
    <scene_description>Paco is silenced by the waitress, who returns with an empty cup for Karen. As she is pouring the coffee Karen gets up and leaves.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. JOSEPH'S PARENTS HOUSE - DUSK</stage_direction>
    <scene_description>Lucy and Joseph are at dinner with Joseph's parents, CAROL and WINSTON.</scene_description>
    <character>WINSTON</character>
    <dialogue>Do you know what you want?</dialogue>
    <character>LUCY</character>
    <dialogue>I don't care.</dialogue>
    <character>JOSEPH</character>
    <dialogue>A boy, I guess.</dialogue>
    <character>WINSTON</character>
    <dialogue>Biological parents get to visit their children and to have a hand in their upbringing. Isn't that the case now?</dialogue>
    <character>LUCY</character>
    <dialogue>No. It's your child and you call the shots. It's just without that whole secrecy. If a child wants to now where they come from they have the right to know.</dialogue>
    <character>CAROL</character>
    <dialogue>I hope it's all for the better. I hope they don't change their mind about all these new rules twenty years from now.</dialogue>
    <character>LUCY</character>
    <dialogue>Who is?</dialogue>
    <character>CAROL</character>
    <dialogue>The experts.</dialogue>
    <scene_description>A beat. Then Lucy to Winston:</scene_description>
    <character>LUCY</character>
    <dialogue>Joseph will make a great dad, don't you think?</dialogue>
    <character>WINSTON</character>
    <dialogue>Yes.</dialogue>
    <character>CAROL</character>
    <dialogue>It's the only thing he's ever wanted.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. RESTAURANT - NIGHT</stage_direction>
    <scene_description>Elizabeth follows a maitre d' through the restaurant. They reach a table for two where Paul gets up to greet her.</scene_description>
    <character>PAUL</character>
    <dialogue>Elizabeth.</dialogue>
    <scene_description>The maitre d' has pulled back the chair but Elizabeth remains standing.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>I didn't realize it was just the two of us.</dialogue>
    <character>PAUL</character>
    <dialogue>My partners can put anyone to sleep in a minute. I thought this would be better.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>It's not what I expected.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>PAUL</character>
    <dialogue>I hope you don't think it's inappropriate.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>I like to know what everything means, that's all.</dialogue>
    <character>PAUL</character>
    <dialogue>Just a man getting acquainted with his new employee.</dialogue>
    <scene_description>Elizabeth thinks about it, then sits; Paul follows.</scene_description>
    <character>PAUL</character>
    <dialogue>Something to drink?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>Sparkling water.</dialogue>
    <scene_description>The hostess leaves.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>Are you married?</dialogue>
    <character>PAUL</character>
    <dialogue>I was. My wife died five years ago.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>What was her name?</dialogue>
    <character>PAUL</character>
    <dialogue>Maureen.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>What about her do you miss the most?</dialogue>
    <scene_description>The question takes him by surprise. He thinks about it.</scene_description>
    <character>PAUL</character>
    <dialogue>We were close. That's not easy to come by. That's what I miss.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>PAUL</character>
    <dialogue>My kids say their mother and I were closer to each other than we were to them. I was hoping they hadn't noticed.</dialogue>
    <scene_description>It's a joke and it makes her smile.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>How old are they?</dialogue>
    <scene_description>thirty.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>You started young.</dialogue>
    <character>PAUL</character>
    <dialogue>Not that young.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>So you're no spring chicken.</dialogue>
    <scene_description>He laughs.</scene_description>
    <character>PAUL</character>
    <dialogue>No, I'm not.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>Most men don't get out of adolescence till their fifties.</dialogue>
    <character>PAUL</character>
    <dialogue>I'm still working on it. Age is no big deal; if you stay clear of regrets.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>Ah. There's the rub.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>You're still handsome.</dialogue>
    <scene_description>He bows with his head in mock solemnity.</scene_description>
    <character>PAUL</character>
    <dialogue>Thank you.</dialogue>
    <scene_description>Elizabeth reads her menu.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LUCY'S BEDROOM - NIGHT</stage_direction>
    <scene_description>Joseph reads while Lucy lies with her back to him, lost in thought. Finally:</scene_description>
    <character>LUCY</character>
    <dialogue>No one can make me feel like shit like your mom. Not even my own mom -- believe it or not.</dialogue>
    <scene_description>Joseph waits for more. like those smart bombs that can find a needle in a hay stack. And it's all in a frequency that only I can hear -- like a dog whistle. Everyone else has no idea what's going on.</scene_description>
    <character>JOSEPH</character>
    <dialogue>What did she say?</dialogue>
    <character>LUCY</character>
    <dialogue>She said having a baby was the only thing you've ever wanted.</dialogue>
    <character>JOSEPH</character>
    <dialogue>I don't think she meant anything by it.</dialogue>
    <character>LUCY</character>
    <dialogue>Well, there's the thing: you married a barren girl.</dialogue>
    <scene_description>Joseph puts the book down and moves in to cuddle up to her.</scene_description>
    <character>LUCY</character>
    <dialogue>Don't touch me right now. Don't. I'm not mad at you -- just -- leave me alone for a while. I mean it.</dialogue>
    <scene_description>He goes back to his side.</scene_description>
    <character>LUCY</character>
    <dialogue>We can have sex later, if you want.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. KAREN'S ROOM - NIGHT</stage_direction>
    <scene_description>Karen is in bed, writing in her notebook. She hears a thump coming from her mother's room.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MOTHER'S BEDROOM - CONTINUOUS</stage_direction>
    <scene_description>Karen runs in to find her mother curled-up in the fetal position on the floor, in the middle of a seizure. She breaths with great difficulty, drooling and trembling. Karen picks up the phone and dials, her hands shaking. Karen's mother is in bed, awake. She's pale and tired. Karen sits in a chair nearby.</scene_description>
    <character>KAREN</character>
    <dialogue>That young doctor said he'd come back after nine to talk to us.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>NORA</character>
    <dialogue>I don't want to die here.</dialogue>
    <character>KAREN</character>
    <dialogue>You're not going to die.</dialogue>
    <scene_description>Nora just looks at Karen.</scene_description>
    <character>KAREN</character>
    <dialogue>You're not going to die. You're going to be fine.</dialogue>
    <character>NORA</character>
    <dialogue>Do you expect me to live forever?</dialogue>
    <character>KAREN</character>
    <dialogue>Don't start with that.</dialogue>
    <character>NORA</character>
    <dialogue>Even if I could I wouldn't want to. It's one disappointment after another.</dialogue>
    <scene_description>A beat. Nora looks at Karen intently and for a long moment it looks like she's about to say something but she stops herself.</scene_description>
    <character>KAREN</character>
    <dialogue>What? What, mom?</dialogue>
    <scene_description>Nora says nothing.</scene_description>
    <character>KAREN</character>
    <dialogue>What?</dialogue>
    <scene_description>Then Nora turns away, tears running down her face. Karen looks at her, perplexed. She reaches out to touch her mother's hand, but Nora pulls the arm away slowly. A telenovela plays on the TV. Sofia sits near the bed with Cristi on her lap. Karen stands. Cristi puts up her hands to play a game of palms with her mom. They play the game quickly and quietly -- expertly. Karen sees her mother looking at them and smiling. Night has fallen.</scene_description>
    <character>SOFIA</character>
    <dialogue>Let's go, mija.</dialogue>
    <scene_description>Mother and daughter stand.</scene_description>
    <character>NORA</character>
    <dialogue>Come by tomorrow.</dialogue>
    <scene_description>Sofia nods.</scene_description>
    <character>KAREN</character>
    <dialogue>Call me first.</dialogue>
    <scene_description>Sofia picks up Cristi.</scene_description>
    <character>SOFIA</character>
    <dialogue>Say goodbye to Nora.</dialogue>
    <character>CRISTI</character>
    <dialogue>Bye.</dialogue>
    <scene_description>She holds Cristi over the bed and Nora kisses the girl on the forehead. Karen is surprised by this gesture. Sofia takes one last look at Nora. Then:</scene_description>
    <character>SOFIA</character>
    <dialogue>Goodbye, Nora.</dialogue>
    <scene_description>Sofia and Cristi leave and Karen and her mom return to their silence. \*</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ELIZABETH'S OFFICE - NIGHT</stage_direction>
    <scene_description>Almost everyone is gone and the office is quiet. Elizabeth works late. Paul walks in.</scene_description>
    <character>PAUL</character>
    <dialogue>What's keeping you here so late?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>Sneider and Lubezki.</dialogue>
    <character>PAUL</character>
    <dialogue>Not easy clients.</dialogue>
    <scene_description>be happy with this. A beat. Her attention is split between her work and him.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>How about you? Time for beddy-bye?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>I could have you over for a drink. Unless you think it's "inappropriate".</dialogue>
    <scene_description>He says nothing. She returns to her work.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>We'll take your car.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. HALLWAY - NIGHT</stage_direction>
    <scene_description>As Elizabeth and Paul walk out of the elevator on her floor they run into Steven and Tracy on their way out. Steven carries a pillow under his arm.</scene_description>
    <character>TRACY</character>
    <dialogue>Hi! We were just talking about you. Weren't we, Steve? Because I'm getting up to use the bathroom seven times a night and our rooms are back to back. I hope I'm not waking you.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>I haven't heard anything.</dialogue>
    <character>TRACY</character>
    <dialogue>Oh, good, good. You'd let us know, wouldn't you?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>Yes.</dialogue>
    <scene_description>A beat. Tracy smiles at Paul. Paul offers his hand.</scene_description>
    <character>PAUL</character>
    <dialogue>I'm Paul.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>This is Steven and -- tell me your name again.</dialogue>
    <character>TRACY</character>
    <dialogue>Tracy.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>This is Paul. My father.</dialogue>
    <scene_description>The couple are a little surprised that an African- American man is her father but they go with the flow.</scene_description>
    <character>STEVEN</character>
    <dialogue>Hi.</dialogue>
    <scene_description>Paul too is surprised and he laughs at the joke but no one says anything else and the moment passes.</scene_description>
    <character>PAUL</character>
    <dialogue>Hello.</dialogue>
    <character>ELIZABETH</character>
    <parenthetical>(about the pillow)</parenthetical>
    <dialogue>Are you spending the night in the garage?</dialogue>
    <scene_description>Tracy laughs.</scene_description>
    <character>TRACY</character>
    <dialogue>No. It's for our birthing class. It starts tonight. He's my coach.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>We'll get out of your way then.</dialogue>
    <scene_description>Elizabeth walks through between them. Paul follows.</scene_description>
    <character>PAUL</character>
    <dialogue>Good night.</dialogue>
    <character>TRACY</character>
    <dialogue>Bye-bye.</dialogue>
    <scene_description>ELIZABETH'S LIVING ROOM - NIGHT Elizabeth is opening a bottle of wine.</scene_description>
    <character>PAUL</character>
    <dialogue>What was that about, out there?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>She was almost pleased you were black, did you notice? It was a chance for her to exercise her liberal good will. Now she'll be doing the math all night. (imitates Tracy's tone) "Maybe the father's only half-black and the mother is white".</dialogue>
    <character>PAUL</character>
    <dialogue>They seem friendly enough.</dialogue>
    <dialogue>They don't know it themselves. They're too busy re-inventing themselves to everyone's liking.</dialogue>
    <scene_description>She hands him a glass of wine.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>Cheers.</dialogue>
    <scene_description>They toast and drink. A beat.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>What are you thinking about?</dialogue>
    <scene_description>A beat.</scene_description>
    <character>PAUL</character>
    <dialogue>My wife.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>Maureen.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>You'll be okay. I want you to drink the rest in one go.</dialogue>
    <scene_description>He empties the glass. She takes the glass and kisses him.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ELIZABETH'S BEDROOM - NIGHT</stage_direction>
    <scene_description>Elizabeth undresses Paul. He tries to undress her, touch her and kiss her but she won't let him. She lays him back on the bed. She is still dressed. She removes her own underwear and mounts him. She begins to rock back and forth and he follows.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>No. Stay still.</dialogue>
    <scene_description>She continues to rock slowly on top of him.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>Don't move, old man.</dialogue>
    <scene_description>He's very still. She's doing all the work for herself, rubbing against him. She goes on. She hasn't stopped looking into his eyes.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>Don't move. I can come like this.</dialogue>
    <scene_description>She keeps going in silence. Her movements are small.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>Let me come first.</dialogue>
    <scene_description>She finishes, intensely but quietly and without ever looking away from his eyes.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>Now you.</dialogue>
    <scene_description>She watches him finish. He holds her gaze as long as he can but at the end closes his eyes. She smiles watching him, then cuddles up to him.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>Good boy, Paul.</dialogue>
    <scene_description>OMITTED</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOSPITAL ROOM - NIGHT</stage_direction>
    <scene_description>Karen walks out of the bathroom and begins to fold a blanket that was thrown on a chair. She turns to her mother and is struck by what she sees: her mother is already dead, her eyes and mouth slightly open.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ELIZABETH'S BALCONY - DAWN</stage_direction>
    <scene_description>Elizabeth is in her bathrobe, taking in the morning air. She can see Paul still asleep in her bed. She turns to the next balcony to find Steven walking out, already showered and dressed. He lights a cigarette. She observes him for a moment, unseen. Finally he sees her and nods hello. Elizabeth positions herself to face him. She opens her bathrobe and bares her breasts for him to see. She holds for a good while, then finally walks back into her apartment. A meeting room. Lucy, Joseph and Sister Joanne are seated around the table.</scene_description>
    <character>SISTER JOANNE</character>
    <dialogue>Be yourselves. You have many things going for you. She wants a young couple. She wants a woman with a job or career -- Lucy you have the bakery -- she'll like that. Questions?</dialogue>
    <scene_description>Lucy looks at Joseph. No questions. Sister Joanne pats Lucy on the leg and leaves the room. Lucy and Joseph wait. Finally:</scene_description>
    <character>LUCY</character>
    <dialogue>I love you, Joseph.</dialogue>
    <scene_description>He smiles and reaches for her hand. The door open and Sister Joanne returns with RAY. Lucy and Joseph stand.</scene_description>
    <character>SISTER JOANNE</character>
    <dialogue>This is Ray. Lucy and Joseph.</dialogue>
    <scene_description>Everyone nods.</scene_description>
    <character>SISTER JOANNE</character>
    <dialogue>I'll leave you to talk.</dialogue>
    <character>LUCY</character>
    <dialogue>How long do we have?</dialogue>
    <character>RAY</character>
    <dialogue>As long as we need.</dialogue>
    <scene_description>Sister Joanne leaves. Ray sits and Lucy and Joseph follow. Ray looks them over unabashed, at ease in the silence. Finally:</scene_description>
    <character>RAY</character>
    <dialogue>I've already turned down several couples -- did she tell you that?</dialogue>
    <scene_description>Lucy nods.</scene_description>
    <character>JOSEPH</character>
    <dialogue>What kind of people are you looking for?</dialogue>
    <scene_description>I want to hear from her first before I talk to you. Lucy is intimidated and says nothing.</scene_description>
    <character>RAY</character>
    <dialogue>You must have something you want to say. Most people have a speech prepared of some kind.</dialogue>
    <scene_description>Lucy shakes no.</scene_description>
    <character>RAY</character>
    <dialogue>Come on. What did you expect from this meeting?</dialogue>
    <character>LUCY</character>
    <dialogue>I didn't expect to feel like I was dragged into the principal's office. That's how I feel right now.</dialogue>
    <scene_description>Ray laughs.</scene_description>
    <character>RAY</character>
    <dialogue>Okay. Good answer. I'll ask you some questions. Do you believe in God?</dialogue>
    <character>LUCY</character>
    <dialogue>I was raised Catholic.</dialogue>
    <character>RAY</character>
    <dialogue>Do you believe in God?</dialogue>
    <character>LUCY</character>
    <dialogue>I'm not a very religious person. Joseph is -- (to Joseph) aren't you?</dialogue>
    <scene_description>He nods yes.</scene_description>
    <character>RAY</character>
    <dialogue>You don't believe that a higher being created you and loves you and looks after you and steers the ship?</dialogue>
    <scene_description>A beat.</scene_description>
    <character>LUCY</character>
    <dialogue>No. I'm sorry.</dialogue>
    <character>RAY</character>
    <dialogue>What do you believe?</dialogue>
    <character>RAY</character>
    <dialogue>Tell me what you believe.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>RAY</character>
    <dialogue>Go on.</dialogue>
    <character>LUCY</character>
    <dialogue>No.</dialogue>
    <character>RAY</character>
    <dialogue>Why the hell not? What is the purpose of meeting here today, then?</dialogue>
    <scene_description>Lucy says nothing. Ray laughs, annoyed.</scene_description>
    <character>RAY</character>
    <dialogue>Well -- look. Let's not play games. You either want to tell me who you are or you don't. If you don't I'd rather part ways -- better sooner than later.</dialogue>
    <scene_description>She gets up.</scene_description>
    <character>LUCY</character>
    <dialogue>No -- wait.</dialogue>
    <scene_description>Ray waits, standing. Lucy collects her thoughts.</scene_description>
    <character>LUCY</character>
    <dialogue>I believe -- that we come from nothing and when we die we return to nothing. What we make of our lives is our will and our luck. The strength of our character and the -- the roll of the die.</dialogue>
    <scene_description>Ray just looks at her. Then:</scene_description>
    <character>RAY</character>
    <dialogue>And this is what you would teach a child? This is what you want him to believe?</dialogue>
    <scene_description>Lucy nods.</scene_description>
    <character>RAY</character>
    <dialogue>This is what you would teach my baby.</dialogue>
    <character>LUCY</character>
    <dialogue>The baby would be my baby to teach.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. SISTER JOANNE'S OFFICE - DAY</stage_direction>
    <scene_description>Later. Lucy is angry Joseph.</scene_description>
    <character>LUCY</character>
    <dialogue>Why didn't you shut me up? You just sat there like a dummy -- why didn't you tell me to shut up? Why did you let me shoot off like that?</dialogue>
    <character>JOSEPH</character>
    <dialogue>Lucy --.</dialogue>
    <scene_description>Joseph tries to put his arm around her. She reacts violently.</scene_description>
    <character>LUCY</character>
    <dialogue>Don't treat me like I'm a child!</dialogue>
    <scene_description>Sister Joanne walks in.</scene_description>
    <character>JOSEPH</character>
    <dialogue>It didn't go well.</dialogue>
    <character>SISTER JOANNE</character>
    <dialogue>She wants to meet again.</dialogue>
    <character>LUCY</character>
    <dialogue>Really?</dialogue>
    <character>SISTER JOANNE</character>
    <dialogue>Yes.</dialogue>
    <character>JOSEPH</character>
    <dialogue>What did she say?</dialogue>
    <character>SISTER JOANNE</character>
    <dialogue>Nothing. Not a word. But she wants to see you again.</dialogue>
    <scene_description>Lucy laughs.</scene_description>
    <character>LUCY</character>
    <dialogue>I can't believe it.</dialogue>
    <character>SISTER JOANNE</character>
    <dialogue>She can do Friday morning.</dialogue>
    <character>SISTER JOANNE</character>
    <dialogue>You should come in by yourself, Lucy. You don't want to lose the momentum.</dialogue>
    <scene_description>Lucy looks at Joseph for the approval.</scene_description>
    <character>JOSEPH</character>
    <dialogue>You meet with her.</dialogue>
    <scene_description>Lucy kisses Joseph. NORA'S BEDROOM - DAY Karen opens the curtains and takes off the sheets from her mother's bed.</scene_description>
    <character>KAREN (V.O.)</character>
    <dialogue>She's gone now. She will never see your face and you will never see hers. There will always be a silence between you.</dialogue>
    <scene_description>Intercut with Karen placing the urn containing her mother's ashes on the floor inside a closet. After placing the urn she stands there and looks at it.</scene_description>
    <character>KAREN</character>
    <dialogue>I don't want that for us. For you and me.</dialogue>
    <scene_description>Karen kneels down again, opens the urn and looks at the ashes. She smells them. Back to Karen writing at the kitchen table.</scene_description>
    <character>KAREN</character>
    <dialogue>I know it in my heart that we will meet one day. And I will ask you to forgive me.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. KAREN'S KITCHEN - MORNING</stage_direction>
    <scene_description>Karen is seated drinking coffee while Sofia cleans up.</scene_description>
    <character>SOFIA</character>
    <dialogue>Your mother was a good woman, Karen. I'm glad it was over quickly for her. She was ready.</dialogue>
    <character>KAREN</character>
    <dialogue>How the hell do you know if she was ready?</dialogue>
    <character>SOFIA</character>
    <dialogue>She said so.</dialogue>
    <character>KAREN</character>
    <dialogue>She said no such thing to you.</dialogue>
    <scene_description>Sofia drops the subject and continues cleaning. Karen defies her:</scene_description>
    <character>KAREN</character>
    <dialogue>She did not.</dialogue>
    <scene_description>Nothing from Sofia. Karen finishes her coffee.</scene_description>
    <character>KAREN</character>
    <dialogue>Obviously I don't need you five days a week now.</dialogue>
    <character>SOFIA</character>
    <dialogue>No.</dialogue>
    <character>KAREN</character>
    <dialogue>Once will be enough. You can pick the day.</dialogue>
    <character>SOFIA</character>
    <dialogue>Saturday.</dialogue>
    <character>KAREN</character>
    <dialogue>No. I want the house to myself on the weekends now.</dialogue>
    <character>SOFIA</character>
    <dialogue>I've got a chance to work at a dry cleaner's but it's Monday through Friday. If I want that job I have to come in here Saturday or Sunday.</dialogue>
    <scene_description>Karen thinks about it.</scene_description>
    <character>SOFIA</character>
    <dialogue>And Sofia will have to come in with me.</dialogue>
    <scene_description>Karen says nothing.</scene_description>
    <character>SOFIA</character>
    <dialogue>I know you don't like her.</dialogue>
    <character>SOFIA</character>
    <dialogue>She knows to stay out of your way.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. ELIZABETH'S BEDROOM - DAY</stage_direction>
    <scene_description>Elizabeth lies naked on her side of the bed. A man sits up on the other side. It's Steven, Tracy's husband. He begins to dress.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>Say hi to everyone for me.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. STREETS - DAY</stage_direction>
    <scene_description>Karen is behind the wheel of her car, stopped at a red light. A WOMAN in her thirties crossing in front of her catches her eye. Karen then follows with her gaze ANOTHER WOMAN crossing in the opposite direction. Then a THIRD WOMAN, this one seven months pregnant. After the women pass Karen is left deep in thought, until a honking car behind her awakes her and she drives off. The PREGNANT WOMAN was Elizabeth.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BANK - DAY</stage_direction>
    <scene_description>Karen is seated in a waiting area. A MAN IN HIS FIFTIES, the branch manager, waves her over. He stands up to shake her hand and greets her.</scene_description>
    <character>TOM</character>
    <dialogue>Tom Weller. What can I do for you today?</dialogue>
    <scene_description>A beat.</scene_description>
    <character>KAREN</character>
    <dialogue>Karen.</dialogue>
    <character>TOM</character>
    <dialogue>Nice to meet you, Karen.</dialogue>
    <scene_description>He smiles but when she says nothing he takes her in and finally recognizes her. TOM (cont'd) Karen. Wow.</scene_description>
    <character>KAREN</character>
    <dialogue>I was in this branch about three years ago and I saw you. I ran out of here like the place was on fire.</dialogue>
    <scene_description>She chuckles, trying to make light of it. He takes her in.</scene_description>
    <character>KAREN</character>
    <dialogue>My mother died.</dialogue>
    <scene_description>Tom nods but says nothing. KAREN (cont'd) How are you? You married that girl from NoHo High, right? Hailie.</scene_description>
    <character>TOM</character>
    <dialogue>Yes.</dialogue>
    <character>KAREN</character>
    <dialogue>Do you have kids?</dialogue>
    <scene_description>A beat.</scene_description>
    <character>TOM</character>
    <dialogue>We have two boys and a girl. They're gone now. They have their own lives.</dialogue>
    <scene_description>She nods. A long beat. TOM (cont'd) I think about you all the time.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BANK - AFTERNOON</stage_direction>
    <scene_description>Karen and Tom sit at a bench outside the bank.</scene_description>
    <character>TOM</character>
    <dialogue>I never told you: my dad gave me the beating of my life. Not when he found out you were pregnant. He didn't say anything for months then. But when he heard the baby was born -- boy!</dialogue>
    <character>KAREN</character>
    <dialogue>Oh, Tom.</dialogue>
    <dialogue>that. I got him out of my system forever after that. Fuck him.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>KAREN</character>
    <dialogue>And your mom? I liked her.</dialogue>
    <character>TOM</character>
    <dialogue>Her memory's gone. She was married for sixty years and had four kids and worked a dozen jobs and fought with my dad every day and was even happy sometimes, but mostly she was tired as hell. Now she looks at me when I visit and she doesn't know who I am -- or my sisters. Something in my face rings a bell for her -- but she can't make it out. There's nothing left.</dialogue>
    <scene_description>Tom is trying to make light of it but clearly it's a painful subject for him. TOM (cont'd) She wanted to look for her, you know. She said to my sisters once: "It's abnormal -- my grandchild out there in the world, and I've never met her." They look at each other. Tom caresses Karen's arm.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ELIZABETH'S BEDROOM - NIGHT</stage_direction>
    <scene_description>Paul and Elizabeth are in bed. Elizabeth curls up to Paul and caresses his face affectionately.</scene_description>
    <character>PAUL</character>
    <dialogue>My daughter asked me if I was dating. I didn't know what to say.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>You're having an affair with one of your attorneys.</dialogue>
    <character>PAUL</character>
    <dialogue>Is it an affair if neither of us is married?</dialogue>
    <scene_description>relationship of an informal or temporary nature. A beat.</scene_description>
    <character>PAUL</character>
    <dialogue>Thank you, counsellor.</dialogue>
    <scene_description>Silence. Then:</scene_description>
    <character>PAUL</character>
    <dialogue>I read your brief on the Nelligan case. It's outstanding. You cited Escalante vs. L.A. County -- that's a pretty obscure case but it's perfect for this. Good work.</dialogue>
    <scene_description>She smiles.</scene_description>
    <character>PAUL</character>
    <dialogue>I've recommended you to lead the Thomas and Thompson team.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>Do you think that's going to go over well with Guinness and Wilder and all your wonder boys out there?</dialogue>
    <character>PAUL</character>
    <dialogue>They'll have to eat it. It's still my law firm.</dialogue>
    <scene_description>She nods.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>I'm going to have to pass. Thank you, though.</dialogue>
    <scene_description>Paul laughs.</scene_description>
    <character>PAUL</character>
    <dialogue>What are you talking about?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>When I've been here long enough to win this kind of promotion, I'll take it. I know I deserve it -- just give me a chance to earn it.</dialogue>
    <character>PAUL</character>
    <dialogue>What do you want for yourself -- professionally?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>I want to sit on the Circuit Court of Appeals.</dialogue>
    <character>PAUL</character>
    <dialogue>You've been with four firms in three cities in ten years. It's not a good strategy. You have to sit tight in one place -- develop the relationships that are going to win you the appointments.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>That's not how I like to live my life. I'll get there. There are many ways to skin a cat.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. MOTEL - DUSK</stage_direction>
    <scene_description>Karen and Tom kiss like teenagers. They look at each other's face, trying the recognize what they remember about each other. LATER After sex. Karen and Tom are still in bed, in silence. Then Karen gets up and begins to dress. Tom looks on. When Karen is dressed she stands there for a moment looks at him and he looks back at her but says nothing. Then:</scene_description>
    <character>KAREN</character>
    <dialogue>You haven't asked me anything. About what it's been like for me. All of it. All this time.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>TOM</character>
    <dialogue>What did --.</dialogue>
    <scene_description>Karen makes a gesture -- don't speak. He stops. own. It needed to come from you. No anger from her, just disappointment. A beat.</scene_description>
    <character>KAREN</character>
    <dialogue>What I felt with you I never felt again for anyone else. Not like that.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>KAREN</character>
    <dialogue>Do you remember?</dialogue>
    <scene_description>He nods. She reaches for her handbag.</scene_description>
    <character>TOM</character>
    <dialogue>Let me pay for the room.</dialogue>
    <scene_description>A beat. She chuckles, then leaves.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PHYSICAL THERAPY ROOM - DAY</stage_direction>
    <scene_description>Karen is with an elderly patient. She places the patient on a wheelchair, walks to a water fountain and begins to fill a paper cup. When she looks around Paco is already walking up to her.</scene_description>
    <character>PACO</character>
    <dialogue>Hi.</dialogue>
    <scene_description>Karen says nothing.</scene_description>
    <character>PACO</character>
    <dialogue>I'm sorry about your mom, Karen. The loss of a parent is a horrible thing.</dialogue>
    <scene_description>After a beat:</scene_description>
    <character>KAREN</character>
    <dialogue>Thank you.</dialogue>
    <scene_description>Paco walks away.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. THERAPIST'S COMMON AREA - DAY</stage_direction>
    <scene_description>Karen comes in and walks towards her locker. She stops suddenly: there is a small plastic bag hanging from the locker handle.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. THERAPY POOL - CONTINUOUS</stage_direction>
    <scene_description>Karen rushes in carrying the bag, looks around but doesn't find what she's looking for. She rushes out again.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PARKING LOT - CONTINUOUS</stage_direction>
    <scene_description>Karen can see Paco walking towards his car. She moves quickly and catches up with him.</scene_description>
    <character>PACO</character>
    <dialogue>Hey.</dialogue>
    <character>KAREN</character>
    <parenthetical>(about the bag)</parenthetical>
    <dialogue>Is this yours?</dialogue>
    <character>PACO</character>
    <dialogue>Tomatoes -- they're from my garden.</dialogue>
    <character>KAREN</character>
    <dialogue>I can tell they're freaking tomatoes. Why the hell are they hanging on my locker?</dialogue>
    <character>PACO</character>
    <dialogue>I thought you might like them.</dialogue>
    <character>KAREN</character>
    <dialogue>What made you think that, you jerk?</dialogue>
    <scene_description>Paco says nothing.</scene_description>
    <character>KAREN</character>
    <dialogue>I don't appreciate walking into my place of work and finding this bag hanging there for everyone to see -- like I'm your god-damn girlfriend.</dialogue>
    <scene_description>Karen shoves the bag in his stomach.</scene_description>
    <character>KAREN</character>
    <dialogue>You're an idiot.</dialogue>
    <scene_description>Karen walks away leaving him holding onto the bag. Paco is angry now. He walks quickly and catches up to her. 'thanks', you weirdo! He grabs her hand and puts the bag in it. Then he points right to her.</scene_description>
    <character>PACO</character>
    <dialogue>You are a fucking rude weirdo.</dialogue>
    <scene_description>He storms off, mumbling:</scene_description>
    <character>PACO</character>
    <dialogue>Stupid bitch.</dialogue>
    <scene_description>Other people have stopped to witness this. Karen is shaken. OMITTED</scene_description>
  </scene>
  <scene>
    <stage_direction>55A INT. ELIZABETH'S APARTMENT - EARLY EVENING 55A</stage_direction>
    <scene_description>Elizabeth opens the door for Steven.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>Where's your wife?</dialogue>
    <character>STEVEN</character>
    <dialogue>She won't be back until ten.</dialogue>
    <scene_description>Elizabeth walks out.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>We'll go to your place.</dialogue>
    <character>STEVEN</character>
    <dialogue>No.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>That's today's menu. Take it or leave it.</dialogue>
    <scene_description>He's undecided. After a beat she closes the door and leads the way.</scene_description>
  </scene>
  <scene>
    <stage_direction>55B INT. STEVEN'S APARTMENT - CONTINUOUS 55B</stage_direction>
    <scene_description>The door opens and Elizabeth walks in ahead of Steven. The apartment has the same layout as Elizabeth's. She walks around, taking it in. Elizabeth shakes no while looking at the many photographs on the mantelpiece. Presiding over them is a large one of Tracy and Steven on their wedding day, very formally dressed and flanked by bridesmaids and ushers. Elizabeth turns towards Steven and chuckles.</scene_description>
    <character>STEVEN</character>
    <dialogue>Is this fun?</dialogue>
    <scene_description>She shakes no.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>There are no surprises here.</dialogue>
    <scene_description>Elizabeth walks down the hall. She opens a door and looks inside. It's a small bedroom already set up as a nursery. There are unopened gifts around. Elizabeth heads into the bedroom and surveys the area. From where he's standing Steven can't see her. She opens the top drawer of a chest and finds Tracy's underwear. She quickly takes off her own panties, folds them carefully and places them under Tracy's. Outside Steven looks at his watch.</scene_description>
    <character>ELIZABETH (O.S.)</character>
    <dialogue>Let's get going, cowboy.</dialogue>
    <scene_description>Steven walks to the bedroom and finds Elizabeth waiting on the bed, belly down. She has pulled up her skirt to reveal that she's not wearing underwear.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. THERAPIST'S COMMON AREA - DAY</stage_direction>
    <scene_description>Karen eats lunch by herself. Another woman sits nearby. As soon as she walks out Karen stands up, takes a small envelope from her pocket and slides it under a locker door.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PARKING LOT - AFTERNOON</stage_direction>
    <scene_description>Karen walks out of the building and sees Paco waiting by her car. She approaches. He's holding her opened envelope in his hand.</scene_description>
    <character>PACO</character>
    <dialogue>I'm the one who should apologize.</dialogue>
    <character>PACO</character>
    <dialogue>All right.</dialogue>
    <scene_description>A beat. Karen reaches for her car keys. Paco moves out of the way and Karen opens the car door.</scene_description>
    <character>KAREN</character>
    <dialogue>I am not a weirdo but I --</dialogue>
    <character>KAREN</character>
    <dialogue>Let me finish.</dialogue>
    <scene_description>A beat. She waits for a co-worker to walk by.</scene_description>
    <character>KAREN</character>
    <dialogue>I am not a weirdo -- but I am difficult. I don't make new friends easily. I demand a lot from others -- it's unfair but I do. I don't like to be disappointed. And you took me by surprise. You took me by surprise with your attention.</dialogue>
    <scene_description>A beat. This hasn't been easy for her.</scene_description>
    <character>KAREN</character>
    <dialogue>Okay?</dialogue>
    <scene_description>Paco nods. She sits in the car.</scene_description>
    <character>KAREN</character>
    <dialogue>We could meet up Saturday night, if you want.</dialogue>
    <scene_description>She closes the car door. OMITTED OMITTED</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ADOPTION AGENCY - DAY</stage_direction>
    <scene_description>Lucy sits with Ray in a visitor's room. I'm having a boy. Is that what you guys want?</scene_description>
    <character>LUCY</character>
    <dialogue>Joseph wants a boy.</dialogue>
    <character>RAY</character>
    <dialogue>And you?</dialogue>
    <character>LUCY</character>
    <dialogue>I'm okay either way.</dialogue>
    <character>RAY</character>
    <dialogue>If you were having a baby yourself -- your own baby -- you'd want a boy or a girl?</dialogue>
    <scene_description>A beat.</scene_description>
    <character>LUCY</character>
    <dialogue>A girl.</dialogue>
    <character>RAY</character>
    <dialogue>Jesus. Do you always tell the truth?</dialogue>
    <character>LUCY</character>
    <dialogue>The truth is easier to remember.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>RAY</character>
    <dialogue>Okay: this is what I want. I want to visit your house and see how you guys live. I want to spend a couple of nights there. I want to meet your parents and your friends. That doesn't have to be in one go. And I don't have to interview them -- or to be interrogated. I just want to see -- get a better sense of who you are and what your world is. All that in the next couple of weeks. After that I'll decide. If I think we're a good match I want you to come to the birthing class with me -- but not your husband. I don't want him at the birth either -- just you. And I want to be able to name the baby myself. After that, it's goodbye. That's the deal.</dialogue>
    <scene_description>A beat.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BACKYARD - DAY</stage_direction>
    <scene_description>Karen prunes roses in her front yard. The sound of the vacuum cleaner is coming from inside the house. Through a window Karen sees Sofia's daughter Cristi moving a chair in the kitchen. She places it against the counter and gets on top of the chair, trying to reach an upper cabinet. She still can't reach what she wants so she climbs on to the counter. This is enough for Karen, who rushes to the kitchen back door.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. KITCHEN - CONTINUOUS</stage_direction>
    <character>KAREN</character>
    <dialogue>What are you doing?</dialogue>
    <scene_description>The girl is startled.</scene_description>
    <character>KAREN</character>
    <dialogue>Get down. You're going to kill yourself.</dialogue>
    <scene_description>The girl gets down, clearly intimidated by Karen's tone. She pushes the chair back to its place. Karen walks in, looks inside the cabinet and takes out a bag of cookies. She shows them to the girl who says nothing. After a beat Karen takes out a cookie and offers it to the girl.</scene_description>
    <character>KAREN</character>
    <dialogue>Here you go, you little thief.</dialogue>
    <scene_description>The girl does not take the cookie.</scene_description>
    <character>KAREN</character>
    <dialogue>Go ahead. Take it.</dialogue>
    <scene_description>The girl doesn't move.</scene_description>
    <character>KAREN</character>
    <dialogue>Take it.</dialogue>
    <scene_description>It's somewhat of an order. The girl takes the cookie but does not eat it. Karen waits. Finally the girl takes a tiny nibble. Karen smiles, pleased with herself. the girl's neck and examines it. Angry, Karen reaches around the back of the girl's neck and undoes the chain. OMITTED</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MOTHER'S BEDROOM - MOMENTS LATER</stage_direction>
    <scene_description>Karen storms into the room where Sofia is cleaning. She has the necklace in one hand and she is holding on to the girl's wrist with the other.</scene_description>
    <character>KAREN</character>
    <dialogue>What is this?</dialogue>
    <scene_description>Sofia turns off the vacuum cleaner.</scene_description>
    <character>KAREN</character>
    <dialogue>What the hell is she doing with this necklace?</dialogue>
    <character>SOFIA</character>
    <dialogue>You're hurting her, Karen.</dialogue>
    <character>KAREN</character>
    <dialogue>What the hell is she doing with this?</dialogue>
    <character>SOFIA</character>
    <dialogue>You're hurting her.</dialogue>
    <scene_description>Karen lets go of the girl who walks to her mother.</scene_description>
    <character>SOFIA</character>
    <dialogue>Your mother gave it to her.</dialogue>
    <character>KAREN</character>
    <dialogue>She did not.</dialogue>
    <character>SOFIA</character>
    <dialogue>For her birthday.</dialogue>
    <character>KAREN</character>
    <dialogue>This belonged to her mother. She did not gave it to you.</dialogue>
    <character>SOFIA</character>
    <dialogue>She did. Your mother was a very generous person.</dialogue>
    <scene_description>Karen is bewildered to hear this and says nothing. After a beat Sofia turns on the vacuum cleaner and goes back to work. For a moment Karen does not move. Then she speaks up.</scene_description>
    <character>KAREN</character>
    <dialogue>Turn that thing off!</dialogue>
    <scene_description>Sofia turns off the vacuum cleaner.</scene_description>
    <character>KAREN</character>
    <dialogue>What else did she give you?</dialogue>
    <scene_description>Sofia thinks about it.</scene_description>
    <character>SOFIA</character>
    <dialogue>A photo of herself.</dialogue>
    <character>KAREN</character>
    <dialogue>Why?</dialogue>
    <character>SOFIA</character>
    <dialogue>I asked her for it. Why is this upsetting to you?</dialogue>
    <character>KAREN</character>
    <dialogue>It's not upsetting. I'm not upset. I'm just wondering what's going in my own house.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>KAREN</character>
    <dialogue>Did my mother ever talk to you about me?</dialogue>
    <character>SOFIA</character>
    <dialogue>Sometimes.</dialogue>
    <character>KAREN</character>
    <dialogue>What did she say?</dialogue>
    <scene_description>Sofia shrugs "I don't know".</scene_description>
    <character>KAREN</character>
    <dialogue>What did she say?</dialogue>
    <scene_description>A beat.</scene_description>
    <character>KAREN</character>
    <dialogue>What the hell did she say?</dialogue>
    <scene_description>A beat.</scene_description>
    <character>KAREN</character>
    <dialogue>What else?</dialogue>
    <character>SOFIA</character>
    <dialogue>She said it was her fault.</dialogue>
    <scene_description>Karen is surprised to hear this.</scene_description>
    <character>KAREN</character>
    <dialogue>She said that? When did she say that? What were her words?</dialogue>
    <character>SOFIA</character>
    <dialogue>I can't remember the exact words. She blamed herself.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>KAREN</character>
    <dialogue>Did she tell you what happened?</dialogue>
    <scene_description>Sofia shakes no. Then:</scene_description>
    <character>SOFIA</character>
    <dialogue>She said she had ruined your life and that she was very sorry for that.</dialogue>
    <scene_description>A beat. Karen eyes begin to fill with tears.</scene_description>
    <character>KAREN</character>
    <dialogue>Why didn't she say that to me? Why the hell didn't she say it to me? Why did she say it to you? She had to say it to me!</dialogue>
    <scene_description>Sofia says nothing while Karen cries openly. After a while:</scene_description>
    <character>SOFIA</character>
    <dialogue>I think she was scared of you.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. DR. STONE'S EXAM ROOM - AFTERNOON</stage_direction>
    <scene_description>Elizabeth is waiting in an examination room. DR. ELEANOR STONE, a woman Elizabeth's age, comes into the room.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>Hi.</dialogue>
    <scene_description>Eleanor looks at the chart.</scene_description>
    <character>ELEANOR</character>
    <dialogue>Elizabeth Joyce. Who referred you?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>You're on a list of doctors who consult for Walsh, Connery and Lewis. I'm one of their attorneys.</dialogue>
    <character>ELEANOR</character>
    <dialogue>Okay. You do look familiar, though.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>We've never met.</dialogue>
    <scene_description>A beat. Eleanor sits.</scene_description>
    <character>ELEANOR</character>
    <dialogue>What can I do for you?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>I'm a month late with my period.</dialogue>
    <character>ELEANOR</character>
    <dialogue>Are you sexually active?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>I'm not pregnant.</dialogue>
    <character>ELEANOR</character>
    <dialogue>What do you do for birth control?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>My tubes are tied.</dialogue>
    <scene_description>Eleanor takes notes.</scene_description>
    <character>ELEANOR</character>
    <dialogue>How long have they been tied?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>Since I was seventeen.</dialogue>
    <scene_description>Eleanor looks at Elizabeth. Elizabeth says nothing.</scene_description>
    <character>ELEANOR</character>
    <dialogue>It's not a procedure performed on minors -- except for medical reasons.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>I had them tied in a clinic across the border. They didn't know I was a minor.</dialogue>
    <scene_description>Eleanor takes this in.</scene_description>
    <character>ELEANOR</character>
    <dialogue>Any other problems? Abdominal pain -- cramps -- fever?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>No.</dialogue>
    <character>ELEANOR</character>
    <dialogue>Let me have a look at you.</dialogue>
    <scene_description>Elizabeth reaches under the paper gown and removes her underwear. Meanwhile Eleanor puts on a latex glove and examines Elizabeth's face.</scene_description>
    <character>ELEANOR</character>
    <dialogue>Lie back, please.</dialogue>
    <scene_description>Elizabeth does.</scene_description>
    <character>ELEANOR</character>
    <dialogue>Where you at USC law?</dialogue>
    <scene_description>Elizabeth is surprised to hear the question.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>Yes.</dialogue>
    <character>ELEANOR</character>
    <dialogue>I think we have met. I was friends with Sophie Sparrow and Nina Marshall.</dialogue>
    <scene_description>Elizabeth sits up again.</scene_description>
    <character>ELEANOR</character>
    <dialogue>They lived next door to you. We never really spoke. You were a little intimidating.</dialogue>
    <character>ELEANOR</character>
    <dialogue>What's wrong?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>I don't appreciate looking back on my life with someone I've known all of two minutes.</dialogue>
    <character>ELEANOR</character>
    <dialogue>I'm sorry -- I didn't mean anything by it.</dialogue>
    <scene_description>Elizabeth is putting her clothes back on.</scene_description>
    <character>ELEANOR</character>
    <dialogue>Look -- I am sorry. It was bad timing and unprofessional. I haven't seen Sophie in fifteen years and I don't presume to know anything about you. Please forgive me.</dialogue>
    <scene_description>Elizabeth stops, apparently satisfied with the apology. She removes her underwear again and lies back on the table. Eleanor examines her quickly.</scene_description>
    <character>ELEANOR</character>
    <dialogue>Okay.</dialogue>
    <scene_description>Elizabeth sits up again.</scene_description>
    <character>ELEANOR</character>
    <dialogue>I'll have the nurse take a blood sample - - and urine.</dialogue>
    <scene_description>Eleanor is puzzled by the reply but Elizabeth offers no more. She hands Elizabeth her file.</scene_description>
    <character>ELEANOR</character>
    <dialogue>You could be pregnant. It's not impossible.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>I'm not.</dialogue>
    <scene_description>Eleanor leaves. Leticia is at the cash register, closing up. Ray is watching through the glass doors. Ray tries to open the door but it's locked. She knocks on the glass. Leticia sees her but goes back to her work, ignoring her. Ray knocks again but since Leticia continues to ignore her, Ray bangs loudly on the glass door with both fists. Leticia hangs tough, ignoring her. Finally Leticia shouts from where she is:</scene_description>
    <character>LETICIA</character>
    <dialogue>Will you stop that!</dialogue>
    <scene_description>Ray stops. Leticia walks over, unlocks the door and lets her in.</scene_description>
    <character>LETICIA</character>
    <dialogue>The plan is to get me fired?</dialogue>
    <character>RAY</character>
    <dialogue>He would never fire you.</dialogue>
    <scene_description>Leticia heads back to the cash register.</scene_description>
    <character>LETICIA</character>
    <dialogue>He already did. I begged to get my job back. On my knees, honey.</dialogue>
    <character>RAY</character>
    <dialogue>Why, mom? Why do you do that to yourself?</dialogue>
    <character>LETICIA</character>
    <dialogue>Ray: I'm an addict and a felon and I'm on probation -- does that ring a bell?</dialogue>
    <scene_description>Ray says nothing.</scene_description>
    <character>LETICIA</character>
    <dialogue>Look at the breasts on you.</dialogue>
    <scene_description>She touches her breasts.</scene_description>
    <character>RAY</character>
    <dialogue>I found a couple.</dialogue>
    <scene_description>Leticia says nothing.</scene_description>
    <character>RAY</character>
    <dialogue>We're a good match.</dialogue>
    <dialogue>"How high?".</dialogue>
    <character>RAY</character>
    <dialogue>Shut up.</dialogue>
    <scene_description>Leticia returns to her paperwork.</scene_description>
    <character>LETICIA</character>
    <dialogue>How's school?</dialogue>
    <character>RAY</character>
    <dialogue>I made Phi Beta Kappa.</dialogue>
    <character>LETICIA</character>
    <dialogue>Really?</dialogue>
    <character>RAY</character>
    <dialogue>Really. Big surprise?</dialogue>
    <character>LETICIA</character>
    <dialogue>No. Good. It's a good thing. I was happy when I made Phi Beta Kappa.</dialogue>
    <scene_description>Ray says nothing.</scene_description>
    <character>LETICIA</character>
    <dialogue>I'm having a little cook-out this weekend -- with May and Kathleen. Can you put up with that?</dialogue>
    <character>RAY</character>
    <dialogue>Can I put up with that? Is that an invitation?</dialogue>
    <character>LETICIA</character>
    <dialogue>Yes. I'm sorry -- yes. Will you come? We'll celebrate.</dialogue>
    <character>RAY</character>
    <dialogue>We'll celebrate what?</dialogue>
    <character>LETICIA</character>
    <dialogue>I don't know. My grandchild?</dialogue>
    <scene_description>A beat. Ray turns to leave.</scene_description>
    <character>LETICIA</character>
    <dialogue>Three o'clock.</dialogue>
    <scene_description>On her way out Ray messes up folded clothes on a table. Karen sits on her mother's unmade bed, still visibly upset. Sofia and Cristina come to the door.</scene_description>
    <character>SOFIA</character>
    <dialogue>I'm all done, Karen.</dialogue>
    <scene_description>Sofia holds up the pendant.</scene_description>
    <character>SOFIA</character>
    <dialogue>You should have this.</dialogue>
    <scene_description>Karen shakes no. Sofia signals to Cristi.</scene_description>
    <character>CRISTI</character>
    <dialogue>Thank you.</dialogue>
    <scene_description>After a beat:</scene_description>
    <character>SOFIA</character>
    <dialogue>You can pay me next week.</dialogue>
    <scene_description>Sofia and the girl leave.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ELIZABETH'S OFFICE - AFTERNOON</stage_direction>
    <scene_description>Elizabeth is at work. Paul comes in with a cup of coffee for her. She's pleased to see him.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>Oh, thanks. Sit.</dialogue>
    <scene_description>He does. She returns to work and he just watches. Finally:</scene_description>
    <character>ELIZABETH</character>
    <dialogue>What?</dialogue>
    <scene_description>He shakes "nothing". She waits.</scene_description>
    <character>PAUL</character>
    <dialogue>Have you ever looked for your biological parents?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>No.</dialogue>
    <character>PAUL</character>
    <dialogue>They may be looking for you.</dialogue>
    <scene_description>part of my imagination. A beat.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>I live in her home town -- how hard could it be for Her Fucking Majesty to find me?</dialogue>
    <scene_description>Paul says nothing.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>It's better this way. We're all better off like this.</dialogue>
    <scene_description>She returns to her work.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>Why do you ask?</dialogue>
    <character>PAUL</character>
    <dialogue>Because I think she would be very pleased with who you are.</dialogue>
    <scene_description>She says nothing. Then:</scene_description>
    <character>PAUL</character>
    <dialogue>Spending time with you out of work is delightful. It's more than delightful. The truth is ever since you landed here I don't know whether I'm coming or going. You want things the way you want them -- I like that. Your willfulness is a great part of your charm. But it's getting a little scary for me -- feeling like this. I'm going to have to bow out.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>You don't seem like a man scared by scary things.</dialogue>
    <character>PAUL</character>
    <dialogue>It's a precaution. Sometimes when you fall, it's hard to get up.</dialogue>
    <scene_description>He leaves. Later. Karen is curled up on the bed. The doorbell rings. The doorbell rings again. Karen looks at her watch and gets up quickly, fixing her hair and rumpled clothes.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LIVING ROOM - CONTINUOUS</stage_direction>
    <scene_description>Karen turns on lights on her way to the door. Before she opens it she pulls her head together. It's Paco.</scene_description>
    <character>PACO</character>
    <dialogue>Hi. I'm I early?</dialogue>
    <character>KAREN</character>
    <dialogue>No -- it's fine.</dialogue>
    <scene_description>She opens the door wider and he walks in. They stand there in awkward silence. Finally:</scene_description>
    <character>KAREN</character>
    <dialogue>Look -- I'm sorry. It's not a good time for me. I don't think I can --</dialogue>
    <scene_description>Paco's reaction is small but clear: it's always something with this woman. A beat.</scene_description>
    <character>KAREN</character>
    <dialogue>Give me five minutes, okay?</dialogue>
    <scene_description>He nods. She exits.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HOUSE - NIGHT</stage_direction>
    <scene_description>Later. Paco and Karen walk in silence to his car. He opens the door for her and she sits in. He sits behind the wheel. Karen is practically absent.</scene_description>
    <character>PACO</character>
    <dialogue>I thought we'd go to the Shadow Grill in Burbank. Do you know it?</dialogue>
    <scene_description>She shakes no.</scene_description>
    <character>PACO</character>
    <dialogue>It's a good place.</dialogue>
    <scene_description>She nods okay. He starts the car. A beat. He turns the car off again.</scene_description>
    <character>KAREN</character>
    <dialogue>I had a baby girl when I was fourteen and she was given up for adoption.</dialogue>
    <scene_description>She waits for a reaction but Paco says nothing.</scene_description>
    <character>KAREN</character>
    <dialogue>I don't know where she is. I don't know who she is. Everything I do -- every thought in my head takes me back to her. Everywhere I go I look for her face in a crowd but I don't know what she looks like. I write her letters that I never send. I buy her birthday gifts. I have a name for her: Rachel. I don't even know if she's dead or alive.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>KAREN</character>
    <dialogue>That's who I am. I have nothing else. I have nothing to give.</dialogue>
    <scene_description>She's done and she seems depleted. Paco places his hand on her knee for her to hold. She puts her hand in his and he holds it tight. After a few moments she asks:</scene_description>
    <character>KAREN</character>
    <dialogue>Where on earth did you come from?</dialogue>
    <scene_description>He says nothing.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DOCTOR'S OFFICE - AFTERNOON</stage_direction>
    <scene_description>Elizabeth is waiting. Eleanor comes in.</scene_description>
    <character>ELEANOR</character>
    <dialogue>Hello, Elizabeth. How is everything?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>You tell me.</dialogue>
    <character>ELEANOR</character>
    <dialogue>You are pregnant.</dialogue>
    <scene_description>Silence from Elizabeth. it happens. Talk to the girls up front about coming in and we'll take care of it. Eleanor writes quickly in the file.</scene_description>
    <character>ELEANOR</character>
    <dialogue>Then we'll talk about other methods of birth control, okay?</dialogue>
    <scene_description>Eleanor smiles at her and leaves. Elizabeth sits there, lost in thought. Finally she walks out. She stops for a moment at the nurses area. There are patients and other doctors and nurses around and it's quite busy. Suddenly, with surprising ferocity and speed, Elizabeth flails her arms around and begins hitting everything within her reach: files, a bowl of candy, a computer screen, a bulletin board full of baby pictures, a Rolodex, pens, magazines. The outburst lasts only a few seconds, long enough for all activity to stop and for Eleanor to rush out of a room. Elizabeth walks right up to her face.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>You don't know who I am or what I want, you cunt.</dialogue>
    <scene_description>Elizabeth leaves.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ELEVATOR - AFTERNOON</stage_direction>
    <scene_description>Elizabeth walks into the elevator. She stands there, still stunned by the news. The doors close. Elizabeth presses the STOP button and crouches down to the floor.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LUCY'S BAKERY - DAY</stage_direction>
    <scene_description>After hours. Lucy and her mother clean up behind the counter.</scene_description>
    <character>ADA</character>
    <dialogue>And who is the father?</dialogue>
    <character>LUCY</character>
    <dialogue>She won't say.</dialogue>
    <character>LUCY</character>
    <dialogue>I don't know. Yes. Why wouldn't she?</dialogue>
    <scene_description>Ada shrugs. A pause.</scene_description>
    <character>ADA</character>
    <dialogue>How old is she?</dialogue>
    <character>LUCY</character>
    <dialogue>She's twenty-one -- and she's already a senior at Cal Tech.</dialogue>
    <character>ADA</character>
    <dialogue>And she's had all the medical tests and everything?</dialogue>
    <character>LUCY</character>
    <dialogue>Mom -- you're putting me in a bad mood.</dialogue>
    <character>ADA</character>
    <dialogue>When can I meet her?</dialogue>
    <character>LUCY</character>
    <dialogue>Never.</dialogue>
    <character>ADA</character>
    <dialogue>I thought that was one of her conditions. One of her many conditions.</dialogue>
    <scene_description>Lucy says nothing.</scene_description>
    <character>ADA</character>
    <dialogue>I bet if I met her I'd be able to see right through her.</dialogue>
    <character>LUCY</character>
    <dialogue>What? Regarding what?</dialogue>
    <character>ADA</character>
    <dialogue>Whatever it is she's playing at.</dialogue>
    <scene_description>Lucy looks at her mother wondering what this is all about.</scene_description>
    <character>LUCY</character>
    <dialogue>English, please.</dialogue>
    <character>ADA</character>
    <dialogue>I don't think this girl --.</dialogue>
    <character>ADA</character>
    <dialogue>What?</dialogue>
    <character>LUCY</character>
    <dialogue>Take something good and twist it and turn it till you find something rotten. Something that I'm doing wrong.</dialogue>
    <scene_description>She walks off.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ELIZABETH'S APARTMENT - AFTERNOON</stage_direction>
    <scene_description>Elizabeth sits on the floor sipping a cup of tea. TWO MEN work around her, carrying boxes. Elizabeth hears loud voices. It seems that Tracy and Steven are having a good fight.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PAUL'S HOUSE - DUSK</stage_direction>
    <scene_description>Elizabeth rings the doorbell and waits. A woman of thirty, MARIA, opens the door. Voices can be heard inside.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>Hi. I'm looking for Paul.</dialogue>
    <character>MARIA</character>
    <dialogue>Is he expecting you?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>I'm from the office. Elizabeth.</dialogue>
    <character>MARIA</character>
    <dialogue>Oh, sure. I'm Maria, Paul's daughter.</dialogue>
    <scene_description>They shake.</scene_description>
    <character>MARIA</character>
    <dialogue>Come in.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>It's okay.</dialogue>
    <character>MARIA</character>
    <dialogue>No -- come in. He's on the phone.</dialogue>
    <scene_description>She walks in reluctantly. Maria leads the way.</scene_description>
    <character>MARIA</character>
    <dialogue>You can't just stand there. Come on.</dialogue>
    <scene_description>She follows to the dining room where a large table sits Paul's FAMILY: his son JULIAN is also there as well as both of Paul's children's SPOUSES. An OLDER WOMAN who must be Paul's mother, four or five CHILDREN of various ages and a COUPLE that is Paul's brother with his wife. The group of almost 15 is in the middle of an animated discussion that involves people talking at the same time and teasing and prodding one another. It's a warm feeling. Paul is pacing in the background on the phone. He is surprised to see Elizabeth but apparently can't get off the phone so he signals to her "give me a minute". Maria addresses the table:</scene_description>
    <character>MARIA</character>
    <dialogue>Everyone, this is Elizabeth from dad's firm.</dialogue>
    <scene_description>Greetings from many of them. Elizabeth smiles briefly. Paul's son JULIAN gets up and pulls up a chair for her.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>It's okay.</dialogue>
    <character>JULIAN</character>
    <dialogue>Please, sit.</dialogue>
    <character>MARIA \*</character>
    <dialogue>He'll be off in a minute. \*</dialogue>
    <character>JULIAN \*</character>
    <dialogue>Have you had dinner?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>No. I mean, no, thanks.</dialogue>
    <character>MARIA</character>
    <dialogue>How about something to drink? \*</dialogue>
    <character>ELIZABETH</character>
    <dialogue>I'm okay. \*</dialogue>
    <scene_description>the midst of the animated family. Elizabeth's eyes meet with the OLDER LADY'S, who must be Paul's mother. The woman smiles at her, friendly. A LITTLE BOY of about one also looks at her with curiosity. Paul finally hangs up and observes her in silence. She seems like a lost child, almost physically smaller. Finally Elizabeth sees him and he gestures: meet me out there.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. FOYER - THAT MOMENT</stage_direction>
    <scene_description>Elizabeth walks in and is met by Paul.</scene_description>
    <character>PAUL</character>
    <dialogue>Hey -- is everything okay?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>Yes. That's --.</dialogue>
    <scene_description>He wants to say something about his family but can't find words.</scene_description>
    <character>PAUL</character>
    <dialogue>Stay. Have dinner with us.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>I can't.</dialogue>
    <character>PAUL</character>
    <dialogue>Of course you can.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>No.</dialogue>
    <scene_description>She means it. A beat.</scene_description>
    <character>PAUL</character>
    <dialogue>What's going on?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>I'm leaving in the morning.</dialogue>
    <character>PAUL</character>
    <dialogue>Leaving for where?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>Leaving.</dialogue>
    <character>PAUL</character>
    <dialogue>What happened?</dialogue>
    <scene_description>She thinks about it and shrugs -- she has no good answer.</scene_description>
    <character>PAUL</character>
    <dialogue>Is it something that I did or did not do?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>No.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>PAUL</character>
    <dialogue>The wind changed, is that it?</dialogue>
    <scene_description>She nods yes and walks to the front door and opens it and turns to say goodbye. But before she can say a word Paul steps forward and embraces her. A big burst of laughter can be heard coming from the dining room. After a moment he breaks the embrace and takes one last, good look at her. He kisses her forehead and goes back inside, closing the door behind him.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HALLWAY - NIGHT</stage_direction>
    <scene_description>Steven walks to Elizabeth's door and rings the doorbell. No answer. He rings again.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. APARTMENT - THAT MOMENT</stage_direction>
    <scene_description>The apartment is completely empty.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. DAY/NIGHT</stage_direction>
    <scene_description>Views of the San Fernando valley. A sprinkler watering a front yard. A crow eating crumbs of bread in a parking lot. A few children in the playground of a public school in the late afternoon. A cat walks past a garage door, making the safety light turn on. Days into nights. Again, over these images: a child's piano lesson. Karen and Paco are getting married in a civil ceremony. The only guests are Paco's daughter MELISSA and her TWIN BOYS, 7 years of age. Other couples, some with brides in full wedding gowns, wait their turn.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PARK - DAY</stage_direction>
    <scene_description>Sunday and the park is quite full of families, mostly Latinos. A loud soccer game with people of all ages is in the background. Karen and Paco are at a picnic table with his daughter MELISSA. Her twin boys play in the background. Melissa is serving a plate of food for Paco.</scene_description>
    <character>PACO</character>
    <dialogue>Thanks, mija.</dialogue>
    <character>MELISSA</character>
    <dialogue>Karen -- you want white or dark?</dialogue>
    <character>KAREN</character>
    <dialogue>Oh, no -- I can do that.</dialogue>
    <character>MELISSA</character>
    <dialogue>No -- I want to.</dialogue>
    <character>KAREN</character>
    <dialogue>White.</dialogue>
    <scene_description>She serves Karen.</scene_description>
    <character>KAREN (CONT'D)</character>
    <dialogue>Thank you. Wow. I'm not used to this.</dialogue>
    <character>MELISSA</character>
    <dialogue>This is how I want it to be between us.</dialogue>
    <scene_description>As Karen tries her food Melissa lowers her head and whispers Grace. Karen is embarrassed to have started eating. When Melissa is done she makes the sign of the cross and eats too. Paco has eaten through all this, unconcerned.</scene_description>
    <character>KAREN</character>
    <dialogue>I'm always rushing to eat like a hog.</dialogue>
    <scene_description>with my dad. Paco says nothing.</scene_description>
    <character>MELISSA (CONT'D)</character>
    <dialogue>Jesus would never turn his back on you, pop.</dialogue>
    <scene_description>Paco gives her a look.</scene_description>
    <character>MELISSA (CONT'D)</character>
    <dialogue>Okay, okay -- I'll stop. One day we'll be in Heaven laughing at these arguments.</dialogue>
    <character>PACO</character>
    <dialogue>If I'm in Heaven I won't be laughing. Someone will have a lot of explaining to do.</dialogue>
    <character>MELISSA</character>
    <dialogue>What's to explain? All wickedness and cruelty is human. All love is God's love. Karen, you're a good woman -- you must feel the love of Mary in your heart.</dialogue>
    <scene_description>Karen says nothing. Silence while they eat. Then:</scene_description>
    <character>MELISSA (CONT'D)</character>
    <dialogue>My dad has told me about your loss.</dialogue>
    <scene_description>Karen is taken by surprise.</scene_description>
    <character>PACO</character>
    <dialogue>She doesn't like to talk about it.</dialogue>
    <character>MELISSA</character>
    <dialogue>Sometimes it's hard to understand God's design.</dialogue>
    <character>PACO</character>
    <dialogue>Melissa.</dialogue>
    <scene_description>Silence. Karen is a little shaken.</scene_description>
    <character>MELISSA</character>
    <dialogue>May I speak?</dialogue>
    <scene_description>Karen waits. children will grow to know you as their grandmother. They will learn to love you as my father loves you - as I hope to love you. Because it's the time spent together that counts. More than blood. Time counts the most. Karen says nothing.</scene_description>
    <character>MELISSA (CONT'D)</character>
    <dialogue>Find her now -- before time runs out. After that only regret remains. And regret is a killer.</dialogue>
    <scene_description>Karen sits perfectly still, tense, revealing nothing.</scene_description>
  </scene>
  <scene>
    <stage_direction>82A INT. ELIZABETH'S BATHROOM - MORNING 82A</stage_direction>
    <scene_description>A different apartment. Elizabeth is on the bed reading a magazine. She changes position and her robe opens, revealing her seven month belly.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. AMANDA'S LAW OFFICE - DAY</stage_direction>
    <scene_description>A small law office, much less elegant than Paul's. Elizabeth sits across from a Mexican-American woman in her fifties, AMANDA. Amanda reads Elizabeth's resume.</scene_description>
    <character>AMANDA</character>
    <dialogue>Well, Elizabeth, to say that you're grossly over-qualified would be putting it mildly. I couldn't possibly afford someone like you -- though I'd like to, believe me.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>I don't care about the money.</dialogue>
    <character>AMANDA</character>
    <dialogue>I can't offer you benefits.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>I'm not looking for them. I've got plenty of my own insurance.</dialogue>
    <scene_description>basis.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>It's fine. For the kind of work that you do, for a firm of this size -- for the means of your clients -- it's all fine.</dialogue>
    <scene_description>Amanda considers this.</scene_description>
    <character>AMANDA</character>
    <dialogue>Do you know what you're having?</dialogue>
    <scene_description>After a beat Elizabeth shakes no.</scene_description>
    <character>AMANDA (CONT'D)</character>
    <dialogue>What are your alternatives? What would you do if you didn't get this job?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>Stay at home and watch game shows.</dialogue>
    <scene_description>Amanda smiles then looks at Elizabeth's papers again.</scene_description>
    <character>AMANDA</character>
    <dialogue>I don't know what to make of you.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>I'm just passing through.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. LUCY'S HOUSE - AFTERNOON</stage_direction>
    <scene_description>Lucy is serving a cup of tea to Ray, who is almost nine months pregnant.</scene_description>
    <character>LUCY</character>
    <dialogue>It's hot.</dialogue>
    <scene_description>Ray drinks from it anyway. LUCY (cont'd) I've always wanted to ask you what happened. How you got pregnant.</scene_description>
    <character>RAY</character>
    <dialogue>I had sex with a boy at a party. I have no idea who it is.</dialogue>
    <scene_description>Lucy thinks about it. morning and goes on about his life and he doesn't know he's a father.</scene_description>
    <character>LUCY</character>
    <dialogue>Would you recognize him if you saw him?</dialogue>
    <scene_description>Ray shakes no. Then:</scene_description>
    <character>RAY</character>
    <dialogue>It's frightening, isn't it? How disposable men are.</dialogue>
    <scene_description>Lucy says nothing. Ray puts her hand on her belly.</scene_description>
    <character>LUCY</character>
    <dialogue>What?</dialogue>
    <scene_description>Ray looks at Lucy, then takes Lucy's hand and places it on the pregnant belly. Movement. LUCY (cont'd) Jesus. Lucy is very still, transported. She closes her eyes, concentrated on feeling movement. Ray looks at her carefully, at how moved Lucy is. Ray then shifts position, essentially moving her belly away from Lucy. Lucy is taken aback but says nothing.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. KAREN'S BEDROOM - NIGHT</stage_direction>
    <scene_description>Karen is lying awake with her back to Paco, who reads. Finally:</scene_description>
    <character>KAREN</character>
    <dialogue>What do you think about what Melissa said?</dialogue>
    <scene_description>Paco takes a beat.</scene_description>
    <character>PACO</character>
    <dialogue>I agree. You should look for her.</dialogue>
    <character>KAREN</character>
    <dialogue>Why?</dialogue>
    <dialogue>will be better -- easier -- than this thing that's eating away at you.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>KAREN</character>
    <dialogue>Why haven't you told me this before?</dialogue>
    <character>PACO</character>
    <dialogue>I was working towards it.</dialogue>
    <scene_description>Karen thinks about it.</scene_description>
    <character>PACO</character>
    <dialogue>She may be looking for you. Have you thought about that?</dialogue>
    <character>KAREN</character>
    <dialogue>There's nothing I haven't thought of.</dialogue>
    <character>PACO</character>
    <dialogue>Would you know where to start?</dialogue>
    <scene_description>She thinks about it, then nods. A beat.</scene_description>
    <character>PACO</character>
    <dialogue>What is your biggest fear?</dialogue>
    <scene_description>A beat.</scene_description>
    <character>KAREN</character>
    <dialogue>That she'll spit in my face.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. JOANNA'S OFFICE - DAY</stage_direction>
    <scene_description>Karen and Paco sit across from Sister Joanna. Karen is nervous. Paco reaches for her hand to comfort her. She pulls away without looking at him. Sister Joanne comes in with a note pad and sits.</scene_description>
    <character>SISTER JOANNE</character>
    <dialogue>You delivered on November 7, 1973. Your mother was the legal guardian of the baby girl -- you agreed to that before the baby was born.</dialogue>
    <scene_description>Both Sister Joanne and Paco look at Karen who says nothing. A couple took the child on November 10. Unfortunately the provisions of the adoption do not allow me to give out any information regarding the identity of the parties involved. What you can do is write a letter to her. The letter is kept in the file and if she were ever to contact us we would give her the letter and she would be free to reach out to you directly. A beat.</scene_description>
    <character>SISTER JOANNE</character>
    <dialogue>I'm sorry. That's the best I can do.</dialogue>
    <scene_description>A long beat. Finally:</scene_description>
    <character>KAREN</character>
    <dialogue>If she had been here you would have told her the same thing?</dialogue>
    <character>SISTER JOANNE</character>
    <dialogue>That's right.</dialogue>
    <character>KAREN</character>
    <dialogue>So if she was here she didn't leave me a letter.</dialogue>
    <character>SISTER JOANNE</character>
    <dialogue>There's no letter in the file.</dialogue>
    <character>KAREN</character>
    <dialogue>So she's either not looking or doesn't want to write to me. Or she thinks I'm not looking for her.</dialogue>
    <character>PACO</character>
    <dialogue>Maybe she doesn't know where to look.</dialogue>
    <scene_description>Karen says nothing.</scene_description>
    <character>SISTER JOANNE</character>
    <dialogue>I really encourage you to write a letter. It works. People find each other. I've seen it many times.</dialogue>
    <scene_description>Karen thinks about it, then shakes her head no. Elizabeth is being examined by a male doctor of sixty, DR. MORGAN.</scene_description>
    <character>DR. MORGAN</character>
    <dialogue>Anything to report?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>I've had a little spotting. Last week and again yesterday.</dialogue>
    <scene_description>The doctor runs his hands over Elizabeth's belly. There is a point in the lower abdomen that makes Elizabeth flinch.</scene_description>
    <character>DR. MORGAN</character>
    <dialogue>Does that hurt?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>A little.</dialogue>
    <character>DR. MORGAN</character>
    <dialogue>Has long have you had this?</dialogue>
    <scene_description>She thinks about it.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>I'm not sure</dialogue>
    <scene_description>The doctor presses again. Elizabeth reacts again.</scene_description>
    <character>DR. MORGAN</character>
    <dialogue>Have you had any fever?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>No.</dialogue>
    <scene_description>He keeps checking it out. Elizabeth says nothing.</scene_description>
    <character>DR. MORGAN</character>
    <dialogue>Let's do an ultrasound and get some blood work.</dialogue>
    <scene_description>He pats her cheek affectionately.</scene_description>
    <character>DR. MORGAN</character>
    <dialogue>You're going to make a beautiful mom.</dialogue>
    <scene_description>He leaves. The roof top of an apartment building. Elizabeth lies face up on a beach towel, sunbathing. She is wearing shorts and a bikini top. The sound of a door opening and closing makes her turn and cover herself. A GIRL OF FIFTEEN walks out, leading with a white cane. She's blind. Elizabeth observes the girl as she takes a chair that's folded up against the wall, walks to the middle of the roof area, sits and takes in the sun then puts on an Ipod. Elizabeth folds her towel and walks towards the door. The girl, VIOLET, speaks up.</scene_description>
    <character>VIOLET</character>
    <dialogue>Who's there?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>I'm a tenant. I was sunbathing.</dialogue>
    <character>VIOLET</character>
    <dialogue>Careful up here -- it's a big drop.</dialogue>
    <scene_description>The advise makes Elizabeth smile.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>Okay. Thank you.</dialogue>
    <character>VIOLET</character>
    <dialogue>I'm Violet.</dialogue>
    <scene_description>She offers her hands and Elizabeth walks over to shake it.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>Elizabeth.</dialogue>
    <character>VIOLET</character>
    <dialogue>How old are you?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>Thirty-seven.</dialogue>
    <character>VIOLET</character>
    <dialogue>Thirty-seven. You come and you go as you please, you lucky dog. What do you do for a living?</dialogue>
    <dialogue>My mother wants me to be in radio. She says I have the voice for it. It's her fear talking -- that I won't be able to make my way.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>Does radio interest you?</dialogue>
    <character>VIOLET</character>
    <dialogue>I don't know what interests me. I sometimes tell her I could have a career in phone sex. She's humorless. Do you know anyone else in the building?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>No.</dialogue>
    <character>VIOLET</character>
    <dialogue>I'm always here in the afternoons. My mother takes a nap from five to six and the silence in the apartment drives me crazy. It's the sleep of the High Priestess. Meet me here if you're lonely.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>Okay.</dialogue>
    <character>VIOLET</character>
    <dialogue>Are you lonely?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>No.</dialogue>
    <character>VIOLET</character>
    <dialogue>I am, sometimes.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>I'll see you around.</dialogue>
    <character>VIOLET</character>
    <dialogue>Goodbye, Elizabeth. Count on me.</dialogue>
    <scene_description>Elizabeth leaves. Karen walks in from the back yard and spots Sofia's daughter Cristi asleep on a couch in the living room. Her first instinct is to be annoyed that the girl just chose to nap there. Karen approaches as if resolved to wake her up, but something about the sleeping girl captures her. Karen just stands there, then kneels, looking at the girl.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. KAREN'S HOUSE - DUSK</stage_direction>
    <scene_description>Sofia and Cristi are getting ready to leave. Karen is counting money at the kitchen table. Then: Karen looks up at the girl:</scene_description>
    <character>KAREN</character>
    <dialogue>Cristi.</dialogue>
    <scene_description>The girl and mother are surprised that Karen even knows the girl's name. KAREN (cont'd) Tell me something you remember about my mother. The girl thinks. She looks at her mom who says nothing. Finally:</scene_description>
    <character>CRISTI</character>
    <dialogue>Sometimes when she ate, little pieces of food would fall out of her mouth.</dialogue>
    <scene_description>Karen can't help but smile. Then all three laugh a little. Karen gives Sofia her money and Sofia and the girl leave.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CLOTHING STORE - DAY</stage_direction>
    <scene_description>Leticia is helping a customer, unaware that Ray stand nearby, waiting. The customer takes an article of clothing into the changing room. Leticia sees Ray. house. Ray says nothing, just walks around the store looking at the clothing.</scene_description>
    <character>LETICIA</character>
    <dialogue>What are you going to name him?</dialogue>
    <character>RAY</character>
    <dialogue>I'm not naming him, they are.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>LETICIA</character>
    <dialogue>Sebastian. That's what I wanted to name you if you had been a boy.</dialogue>
    <scene_description>Ray says nothing. Leticia folds sweaters. A beat.</scene_description>
    <character>RAY</character>
    <dialogue>Why do you do that?</dialogue>
    <character>LETICIA</character>
    <dialogue>Do what, bunny?</dialogue>
    <character>RAY</character>
    <dialogue>Ignore my god-damn wishes.</dialogue>
    <character>LETICIA</character>
    <dialogue>Which are?</dialogue>
    <character>RAY</character>
    <dialogue>You know what the hell they are.</dialogue>
    <character>LETICIA</character>
    <dialogue>To give that child away on his birth day? To take something that comes from you -- made of you -- and part with it for ever and ever?</dialogue>
    <character>RAY</character>
    <dialogue>I don't want it.</dialogue>
    <character>LETICIA</character>
    <dialogue>I didn't want you either.</dialogue>
    <character>RAY</character>
    <dialogue>I'm not you.</dialogue>
    <scene_description>pregnant and single like I was. A beat. LETICIA (cont'd) I didn't want you and now I can't take a breath without thinking of you and wanting the best of the best for you. The client exits the changing room. Leticia goes to her.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. AMANDA'S LAW OFFICE - AFTERNOON</stage_direction>
    <scene_description>Elizabeth is at work when she looks up and out the window sees a woman who is standing on the sidewalk, looking at her intently. It's Paul's daughter, MARIA. For a moment Elizabeth looks preoccupied with the coincidence, but she pulls it together. Maria comes into the office</scene_description>
    <character>MARIA</character>
    <dialogue>I'm Paul's daughter.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>Yes. Maria. How is Paul?</dialogue>
    <character>MARIA</character>
    <dialogue>He's good.</dialogue>
    <scene_description>Elizabeth nods, taking it in. Maria points to her belly. MARIA (cont'd) Is that his?</scene_description>
    <character>ELIZABETH</character>
    <dialogue>No.</dialogue>
    <scene_description>Maria walks away.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. KAREN'S HOUSE - MORNING</stage_direction>
    <scene_description>Sofia has set up an ironing board and is working on a blouse. She stops suddenly, hearing something: Cristi singing and someone clapping. Sofia walks up slowly and peers into the living room. Cristi is singing a Mexican song and dancing a traditional dance for Karen, who watches, delighted.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LUCY'S HOUSE - NIGHT</stage_direction>
    <scene_description>Lucy comes in to the sound of a game on television. She puts down her things and turns on a couple of lights and walks into the living room. Joseph is there, sitting in front of a football game. But Joseph isn't watching the game, lost as he is in thought.</scene_description>
    <character>LUCY</character>
    <dialogue>Joseph?</dialogue>
    <scene_description>He turns but says nothing.</scene_description>
    <character>LUCY</character>
    <dialogue>Hey. Who's playing?</dialogue>
    <scene_description>He looks at the game on TV like he hadn't realized it was on. LUCY (cont'd) Are you okay? A beat.</scene_description>
    <character>JOSEPH</character>
    <dialogue>I've been thinking.</dialogue>
    <character>LUCY</character>
    <dialogue>About what?</dialogue>
    <character>JOSEPH</character>
    <dialogue>About Ray and what we've gotten ourselves into.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>LUCY</character>
    <dialogue>What have we gotten ourselves into?</dialogue>
    <character>JOSEPH</character>
    <dialogue>That baby of hers that we're planning to keep.</dialogue>
    <dialogue>I thought you were all for it. If you're not, how did the fuck did we get this far?</dialogue>
    <character>JOSEPH</character>
    <dialogue>I don't know how we got this far. I want a child of my own.</dialogue>
    <scene_description>Lucy is hard hit.</scene_description>
    <character>LUCY</character>
    <dialogue>But you know I can't give you that.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>JOSEPH</character>
    <dialogue>I wish you could.</dialogue>
    <scene_description>Lucy leaves the house.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ROOFTOP - AFTERNOON</stage_direction>
    <scene_description>Elizabeth walks onto the roof. Violet is there, reading. She turns when she hears someone approaching and points towards Elizabeth with her cane.</scene_description>
    <character>VIOLET</character>
    <dialogue>Your money or your life.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>Hello, Violet.</dialogue>
    <character>VIOLET</character>
    <dialogue>Hi.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>How are you?</dialogue>
    <character>VIOLET</character>
    <dialogue>Still blind as a bat, but without wings. Are you married? You must be, otherwise you wouldn't be hiding up here so often.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>I'm not married.</dialogue>
    <character>VIOLET</character>
    <dialogue>You're hiding from your children.</dialogue>
    <character>VIOLET</character>
    <dialogue>Smart move. I've heard they're a disappointment.</dialogue>
    <scene_description>Elizabeth thinks about that.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>I'm pregnant, actually.</dialogue>
    <character>VIOLET</character>
    <dialogue>Really?</dialogue>
    <scene_description>Violet rubs her hands together and holds them out. Elizabeth takes Violet's hands and puts them on her belly. VIOLET (cont'd) A person inside another person. Science fiction. A beat.</scene_description>
    <character>VIOLET</character>
    <dialogue>She doesn't know anything.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>Who?</dialogue>
    <character>VIOLET</character>
    <dialogue>Your baby. She doesn't know a thing. Morning -- snowflakes -- music.</dialogue>
    <scene_description>A beat. VIOLET (cont'd) Only her mother's heartbeat. Elizabeth thinks about that.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>That should be enough for now.</dialogue>
    <scene_description>A long beat.</scene_description>
    <character>VIOLET</character>
    <dialogue>You're easy to talk to.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>So are you.</dialogue>
    <character>VIOLET</character>
    <dialogue>I can't talk to my mother.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>Why not?</dialogue>
    <character>VIOLET</character>
    <dialogue>We talk. I just can't -- really talk, you know. There's this knot in my throat when we get close to anything real.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>Why do you think that is?</dialogue>
    <character>VIOLET</character>
    <dialogue>She's so scared for me it scares the shit out of me.</dialogue>
    <scene_description>Elizabeth says nothing. VIOLET (cont'd) What's your mother like? Elizabeth thinks about it.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>She's really gentle and -- patient. And she's fun.</dialogue>
    <character>VIOLET</character>
    <dialogue>Wow.</dialogue>
    <scene_description>A beat. Elizabeth looks at Violet and reconsiders.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>The truth is I have no idea. She gave me up for adoption when I was born. We've never met.</dialogue>
    <scene_description>Violet says nothing. ELIZABETH (cont'd) For a long time I could only think of her as a girl of fourteen. That's how old she was when I was born. A beat. She was like you.</scene_description>
    <character>VIOLET</character>
    <dialogue>But not a virgin.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>That's right.</dialogue>
    <scene_description>Elizabeth laughs. She touches Violet's face. ELIZABETH (cont'd) In the last few months I've formed this image in my head of a woman her real age. I imagine her living alone -- no husband or children.</scene_description>
    <character>VIOLET</character>
    <dialogue>You don't want her to have a life without you.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>Smart girl.</dialogue>
    <character>VIOLET</character>
    <dialogue>Do you think she thinks of you?</dialogue>
    <scene_description>A beat.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>She must. I was inside her once. Who can recuperate from that?</dialogue>
    <scene_description>Violet says nothing. Elizabeth is quiet for a moment. ELIZABETH (cont'd) I used to be angry at her. Not any more. I don't know what happened but all that anger just washed out of me.</scene_description>
    <character>VIOLET</character>
    <dialogue>So why not look for her? God, I would.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>What would you say to her?</dialogue>
    <scene_description>just sit with her -- like we're sitting here right now. They sit in silence.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BAKERY KITCHEN - AFTERNOON</stage_direction>
    <scene_description>Lucy cries while Ada watches. Finally:</scene_description>
    <character>LUCY</character>
    <dialogue>I've never felt so worthless in my entire life.</dialogue>
    <character>ADA</character>
    <dialogue>You're not worthless.</dialogue>
    <character>LUCY</character>
    <dialogue>I could hear his mother speaking right through him. It was fucking freaky.</dialogue>
    <scene_description>Ada says nothing. A beat. LUCY (cont'd) It's over.</scene_description>
    <character>ADA</character>
    <dialogue>You're angry right now, Lucy -- and you should be. But you guys need to talk some more.</dialogue>
    <scene_description>Lucy shakes no.</scene_description>
    <character>LUCY</character>
    <dialogue>I can still adopt the baby on my own. Ray won't mind. She doesn't even like Joseph.</dialogue>
    <character>ADA</character>
    <dialogue>She doesn't?</dialogue>
    <character>LUCY</character>
    <dialogue>No. She hasn't said it but I can tell.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>ADA</character>
    <dialogue>Lucy -- I think you need to think about why you're adopting this baby in the first place.</dialogue>
    <character>LUCY</character>
    <dialogue>Why am I adopting this baby?</dialogue>
    <character>ADA</character>
    <dialogue>For Joseph.</dialogue>
    <character>LUCY</character>
    <dialogue>That's bullshit. I've committed and I'm not just going to walk away from it. It's a baby -- it's not shopping for shoes. I want that baby. That's my god- damn baby.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. FAIR - DAY</stage_direction>
    <scene_description>Karen and Paco ride the spinning teacups with Cristi.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. KAREN'S BEDROOM - AFTERNOON</stage_direction>
    <scene_description>Karen is on the bed, reading a book out loud to Cristi. Sofia looks in, but stands in silence, not wanting to interrupt. Karen reads something that makes Cristi laugh. Karen stops to watch the girl laugh and she laughs, too. Before she returns to the book she caresses the girl's hair affectionately. Then:</scene_description>
    <character>SOFIA</character>
    <dialogue>Vamos, Cristi.</dialogue>
    <character>KAREN</character>
    <dialogue>Oh. Already?</dialogue>
    <character>SOFIA</character>
    <dialogue>Come on.</dialogue>
    <character>KAREN</character>
    <dialogue>We'll finish it next week, okay?</dialogue>
    <character>SOFIA</character>
    <dialogue>Use the rest room before we leave.</dialogue>
    <scene_description>The girl looks to Sofia for permission and the mother nods. Cristi enters Karen's bathroom. A beat.</scene_description>
    <character>KAREN</character>
    <dialogue>How is she doing at school?</dialogue>
    <character>SOFIA</character>
    <dialogue>Good. She likes it.</dialogue>
    <scene_description>Karen nods. Then:</scene_description>
    <character>KAREN</character>
    <dialogue>If you ever need help -- with books. With anything. Let me know. I'd like to help.</dialogue>
    <character>SOFIA</character>
    <dialogue>We're okay.</dialogue>
    <character>KAREN</character>
    <dialogue>Oh, I know. I just --.</dialogue>
    <scene_description>A beat. KAREN (cont'd) Anything. Sofia smiles, but says nothing. Then:</scene_description>
    <character>KAREN</character>
    <dialogue>Can I ask you a question?</dialogue>
    <scene_description>Sofia waits.</scene_description>
    <character>KAREN</character>
    <dialogue>Aren't you ever scared that --. That -- something --. That she could --.</dialogue>
    <scene_description>She trails off, unable to find the words.</scene_description>
    <character>SOFIA</character>
    <dialogue>That she could fall and break like an egg?</dialogue>
    <scene_description>Karen nods. It's been difficult to ask, but it has been honest and Sofia considers her answer carefully:</scene_description>
    <character>SOFIA</character>
    <dialogue>Yes. Sometimes.</dialogue>
    <scene_description>Sofia smiles and shrugs: who knows? The girl returns from the bathroom and she and Sofia leave. The girl turns to wave goodbye to Karen on her way out. OMITTED OMITTED OMITTED Ray during labor. She's scared and she holds Lucy's hand, breathing between contractions. The baby crowning. Lucy watching, mesmerized. OMITTED LATER Lucy cutting the umbilical cord.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ROOFTOP - AFTERNOON</stage_direction>
    <scene_description>Violet walks across the roof, leading with her cane. She slows down a little as she approaches the edge, and when her cane confirms that she's steps from it she kneels down and travels the rest of the way on all fours. Violet kneels by the very edge and taps the side of the building with her cane, confirming the precipice below. Elizabeth comes out of the door and sees Violet.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>Violet. Don't move.</dialogue>
    <character>VIOLET</character>
    <dialogue>Hi.</dialogue>
    <scene_description>Elizabeth walks towards her.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>Back up.</dialogue>
    <character>VIOLET</character>
    <dialogue>I've done it a hundred times. Sit with me.</dialogue>
    <scene_description>Elizabeth sits a couple for steps behind Violet.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>Let's move back.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>No -- I'm afraid of falling and breaking every bone in my body.</dialogue>
    <scene_description>A breeze blows on them.</scene_description>
    <character>VIOLET</character>
    <dialogue>Oh, my god -- can you feel that?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>Yeah.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>VIOLET</character>
    <dialogue>I'm not afraid of death. Are you?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>Don't think about death right now, Violet. You'll have plenty of time later, believe me.</dialogue>
    <character>VIOLET</character>
    <dialogue>You didn't think about death when you were my age?</dialogue>
    <scene_description>A beat.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>I did. It didn't scare me either.</dialogue>
    <scene_description>Elizabeth thinks about it.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>I felt like I wasn't really there -- that I was invisible and disposable -- and that the world after me would be like the world before me. That I wouldn't leave a thing behind. It wasn't a bad feeling, really. It was comforting -- to feel like I was nothing.</dialogue>
    <character>VIOLET</character>
    <dialogue>You should of doubled up on the medication.</dialogue>
    <scene_description>Elizabeth laughs. Then:</scene_description>
    <character>VIOLET</character>
    <dialogue>I'm not nothing.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>No, you're not. You're lovely.</dialogue>
    <scene_description>Elizabeth fixes a loose strand of hair on Violet.</scene_description>
    <character>VIOLET</character>
    <dialogue>I have a favor to ask you.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>Shoot.</dialogue>
    <character>VIOLET</character>
    <dialogue>There's a boy I want to have sex with.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>Use a condom, Violet.</dialogue>
    <scene_description>Violet reaches out to Elizabeth's belly.</scene_description>
    <character>VIOLET</character>
    <dialogue>You didn't always use a condom,did you Tex?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>No, I didn't. You have to, though. Who is this boy?</dialogue>
    <character>VIOLET</character>
    <dialogue>He's a boy like any other boy -- except that he's singled me out so he deserves a reward, don't you think?</dialogue>
    <scene_description>Elizabeth smiles.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>I suppose he does, yes.</dialogue>
    <scene_description>A beat. Then in a different tone:</scene_description>
    <character>VIOLET</character>
    <dialogue>Sometimes when we're making out I feel like we're just -- one person -- all tangled up. I breathe in his breath and it feels so good it makes me want to cry.</dialogue>
    <scene_description>Elizabeth says nothing, just takes her in. during the day. Elizabeth says nothing.</scene_description>
    <character>VIOLET</character>
    <dialogue>We have no other place. He lives with his family -- there's five of them. My mom is home most of the day. She'll freak.</dialogue>
    <scene_description>Elizabeth just looks at her. Then:</scene_description>
    <character>ELIZABETH</character>
    <dialogue>Let me think about it, okay?</dialogue>
    <character>VIOLET</character>
    <dialogue>Okay.</dialogue>
    <scene_description>Violet reaches out and holds Elizabeth's hand.</scene_description>
    <character>VIOLET</character>
    <dialogue>We'll look back on this and laugh our asses off.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. RAY'S HOSPITAL ROOM - DUSK</stage_direction>
    <scene_description>Ray is asleep. Lucy is seated nearby. Ada stands against the wall on the opposite side of the room. The door opens and a nurse rolls in a bassinet with the BABY sleeping inside. Ray opens her eyes.</scene_description>
    <character>NURSE</character>
    <dialogue>Has your milk come in yet?</dialogue>
    <scene_description>Ray shakes no. NURSE (cont'd) You should put him on the breast -- he'll stimulate it.</scene_description>
    <character>RAY</character>
    <dialogue>No. I'm not nursing him.</dialogue>
    <scene_description>A beat. this?</scene_description>
    <character>RAY</character>
    <dialogue>I don't have to.</dialogue>
    <scene_description>The nurse looks at Lucy and Ada who say nothing. LATER Lucy feeds the baby a tiny bottle of formula while Ada watches closely. Ray just looks out the window. Ada has been circumspect until now -- but finally she smiles while she watches the baby.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. RAY'S HOSPITAL ROOM - DUSK</stage_direction>
    <scene_description>Ray is fast asleep again and the baby has been taken away. Lucy and Ada are preparing to leave. Lucy walks up to Ray and caresses her forehead -- then kisses it.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOSPITAL HALLWAY - THAT MOMENT</stage_direction>
    <scene_description>Lucy and Ada walk out of Ray's room. As they head down the hallway they cross Ray's mom Leticia, walking briskly in the opposite direction.</scene_description>
  </scene>
  <scene>
    <stage_direction>111A INT. KAREN'S LIVING ROOM - DUSK 111A</stage_direction>
    <scene_description>Karen, Paco and Sofia sing Happy Birthday to Cristi, while candles burn on a small ice-cream cake. When they're done, Cristi blows out the candles as everyone claps. 111B LATER 111B Karen is washing dishes while Sofia wipes down the table and the kitchen counter. Finally:</scene_description>
    <character>SOFIA</character>
    <dialogue>My brother is opening a restaurant in Corpus Christi, Texas.</dialogue>
    <scene_description>Sofia nods, keeps working. Then:</scene_description>
    <character>SOFIA</character>
    <dialogue>He wants me to move out there. To be his cashier.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>KAREN</character>
    <dialogue>Do you want to?</dialogue>
    <character>SOFIA</character>
    <dialogue>We're leaving at the end of next month.</dialogue>
    <scene_description>Karen returns to washing dishes.</scene_description>
    <character>SOFIA</character>
    <dialogue>I can recommend someone to take my place here.</dialogue>
    <scene_description>Karen nods but says nothing.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DOCTOR'S OFFICE -- AFTERNOON</stage_direction>
    <scene_description>Dr. Morgan comes in with test results. Elizabeth is waiting.</scene_description>
    <character>DR. MORGAN</character>
    <dialogue>Hello, Elizabeth. You have what's known as placenta previa. Your placenta sits low -- under the baby -- partially \* blocking the cervix. If it stays there it'll make for a very tricky delivery. We might have to consider a C-</dialogue>
    <scene_description>No. I want to deliver her.</scene_description>
    <character>DR. MORGAN</character>
    <dialogue>Well, we're not there yet.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>I mean it, doctor. I'm going to push her out myself.</dialogue>
    <scene_description>He's unwilling to commit.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>Is that clear?</dialogue>
    <scene_description>A beat.</scene_description>
    <character>DR. MORGAN</character>
    <dialogue>Let me take a look.</dialogue>
    <scene_description>Elizabeth lies back. Dr. Morgan touches her belly.</scene_description>
    <character>DR. MORGAN</character>
    <dialogue>Has anyone in your family ever had a bleeding disorder?</dialogue>
    <scene_description>Elizabeth shrugs "I have no idea."</scene_description>
    <character>DR. MORGAN</character>
    <dialogue>Please try not to exert yourself. No running around or carrying heavy stuff. Okay? Otherwise I'll put you on bed rest.</dialogue>
    <scene_description>She says nothing.</scene_description>
    <character>DR. MORGAN</character>
    <dialogue>You're a piece of work, aren't you?</dialogue>
    <scene_description>She smiles but says nothing. OMITTED</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOSPITAL - MORNING</stage_direction>
    <scene_description>We hear only score over this scene -- no dialogue. As they approaches Ray's room they see a group gathered at the door. Sister Joanne is here, together with a DOCTOR and another MAN that looks like a HOSPITAL ADMINISTRATOR. Further down the hall is a SECURITY GUARD. Sister Joanne pulls Lucy over to one side and explains something to her slowly, carefully. Lucy listens in silence, then reacts badly and begins to scream. She rushes to the door and bangs on it and screams but is pulled away by hospital staff and by Ada. Ada tries to walk her away, but Lucy tries to get back into the room. As they pull her away this time she collapses to the floor, screaming and squirming in an uncontrollable fit. Sister Joanne looks on, heart-broken for her.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. RAY'S HOSPITAL ROOM - THAT MOMENT</stage_direction>
    <scene_description>Lucy can be heard yelling outside. Ray is in bed nursing the baby. Her mother sits on the edge of the bed, watching. Neither says a word or looks at the other.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. KAREN'S HOUSE - AFTERNOON</stage_direction>
    <scene_description>Sofia, Paco and Karen exchange quick formal hugs. Paco shakes Cristi's hand and bows, playfully formal. Cristi reaches into Sofia's bag and takes out a little present, wrapped by her. She hands it to Karen. Karen kneels and hugs the girl and then just looks at the girl's face, long and hard, taking in every detail, touching her with the tips of her fingers -- like a blind person trying to memorize the features. Karen gets up again and they all stand there in silence. Suddenly Sofia steps up again and embraces Karen quickly and whispers in her ear:</scene_description>
    <character>SOFIA</character>
    <dialogue>Your mother loved you more than anything in the world.</dialogue>
    <scene_description>Sofia breaks away and without another look or word she takes the girl's hand and they walk away. Karen and Paco watch as Sofia and Cristi walk away. Karen puts on the necklace. OMITTED</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LUCY'S HOUSE - NIGHT</stage_direction>
    <scene_description>Lucy is lying down on a couch, depleted. Ada sits next to her, holding her hand.</scene_description>
    <character>LUCY</character>
    <dialogue>You were right. If God wanted me to be a mom he would have made me a mom.</dialogue>
    <character>ADA</character>
    <dialogue>Lucy, I never said that.</dialogue>
    <character>LUCY</character>
    <dialogue>The whole adoption thing is just so fucking -- unnatural. How come no one will just come out and say it?</dialogue>
    <scene_description>The doorbell rings and Ada walks away. Ada returns followed by Sister Joanne. Lucy sits up slowly when Sister Joanne walks in. Sister Joanne sits. Ada remains standing.</scene_description>
    <character>LUCY</character>
    <dialogue>I don't blame her. I mean, it's her child, right? Who would give up her child that didn't have to?</dialogue>
    <character>SISTER JOANNE</character>
    <dialogue>Lucy. There's another baby.</dialogue>
    <character>ADA</character>
    <dialogue>Oh, for god's sake --.</dialogue>
    <character>SISTER JOANNE</character>
    <dialogue>Just hear me out.</dialogue>
    <character>ADA</character>
    <dialogue>No.</dialogue>
    <character>ADA</character>
    <dialogue>Until that no one comes knocking on our door to take her away.</dialogue>
    <character>SISTER JOANNE</character>
    <dialogue>That's not going to happen.</dialogue>
    <character>ADA</character>
    <dialogue>I think you better leave.</dialogue>
    <character>LUCY</character>
    <dialogue>Mom --.</dialogue>
    <scene_description>Ada backs off. LUCY (cont'd) Is this a baby that was meant for someone else?</scene_description>
    <character>SISTER JOANNE</character>
    <dialogue>No. Absolutely not. There are waiting lists but --. Look -- it's already arranged -- if you want it.</dialogue>
    <character>LUCY</character>
    <dialogue>Where is the mother?</dialogue>
    <character>SISTER JOANNE</character>
    <dialogue>There is no one. There isn't, okay? Sometimes there's just nobody. This is one of those times.</dialogue>
    <scene_description>Lucy doesn't take her eyes off Sister Joanne. A beat. SISTER JOANNE (cont'd) Lucy: this little girl -- you're crossing paths with her today. If you let it pass it'll be gone forever.</scene_description>
  </scene>
  <scene>
    <stage_direction>118A INT. KAREN'S BEDROOM - NIGHT 118A</stage_direction>
    <scene_description>Karen and Paco are in bed. They lie there in silence. Finally:</scene_description>
    <character>KAREN</character>
    <dialogue>I've been thinking a lot about my mother lately.</dialogue>
    <scene_description>I was little she would dress me up in her clothes and paint my face and we would put on these little musical shows and laugh like crazy. She once peed in her pants, she was laughing so hard. I hadn't thought about that in years. A beat. KAREN (cont'd) She loved everything that I wrote and she encouraged me. She had high hopes for me. All her hopes were for me, really -- she had none for herself. That was scary. And then when I got pregnant something broke inside of her and she never recuperated. A beat. KAREN (cont'd) She was capable of a lot of love, once. And it was all for me. She cuddles up to him. OMITTED</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. REBECCA'S HOUSE - DAY</stage_direction>
    <scene_description>Elizabeth's childhood home. Elizabeth drives up and looks at the house from inside the car. There is a "For Sale" sign up front. Elizabeth takes out her cell phone and dials a number. The number rings and rings. When a machine answers with a woman's voice on it, she hangs up.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. REBECCA'S HOUSE - DAY</stage_direction>
    <scene_description>Elizabeth lets herself into the back door and rushes past the living room and right up the stairs. Elizabeth walks into her old bedroom and heads straight for the closet. Although things are stored in the room, it is still somewhat dressed like it was when she was in high school, twenty years ago. Elizabeth, rifles through cardboard boxes quickly, picking out a photo album, looking through it and taking a little photograph. She puts the album away and turns to leave but stops and looks around and breaths in the smell of the place. She closes her eyes. When she finally opens her eyes we see how hard the memories are for her. She walks to the window and looks out to the large, unkempt back yard OMITTED</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. REBECCA'S BACK YARD - MOMENTS LATER</stage_direction>
    <scene_description>Elizabeth stands in the middle of the large yard, looking around, lost in her memories. After a while she turns around and standing not far from her is a woman in her sixties, REBECCA. For a few beats nobody speaks, while the women take each other in. Finally:</scene_description>
    <character>REBECCA</character>
    <dialogue>Well, look at you, Sandy.</dialogue>
    <scene_description>Elizabeth walks past her on her way out.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>Don't call me that.</dialogue>
    <scene_description>124A OMITTED 124A</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SISTER JOANNE'S OFFICE - DAY</stage_direction>
    <scene_description>Karen is seated in front of Sister Joanne's desk. Sister Joanne comes in. Karen smiles, nervously. She's holding an envelope. Sister Joanna points to it without a word. Karen hands it to her.</scene_description>
    <character>SISTER JOANNE</character>
    <dialogue>I'll put it in the file right away.</dialogue>
    <scene_description>Karen doesn't move. Finally:</scene_description>
    <character>SISTER JOANNE</character>
    <dialogue>I'll do it right now.</dialogue>
    <scene_description>Sister Joanne gets up and exits the room.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. APARTMENT - DUSK</stage_direction>
    <scene_description>Elizabeth lets herself in. She puts down her handbag and briefcase and notices a girl's shoes on the living room floor. Elizabeth walks quietly to the bedroom door. Inside, naked and asleep in bed, are Violet and a BOY HER AGE. Elizabeth observes them for a few beats then backs away.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LUCY'S HOUSE - NIGHT</stage_direction>
    <scene_description>The BABY cries desperately at the top of her lungs. Lucy tries to comfort her, holding her and dancing around. Lucy is crying too, exhausted. The doorbell rings. Lucy opens the door for her mother.</scene_description>
    <character>LUCY</character>
    <dialogue>I can't do it, mom. I can't.</dialogue>
    <scene_description>Ada takes the baby and walks towards the bedroom. Lucy collapses in a chair, exhausted. OMITTED Lucy drinks a cup of tea. Ada comes in.</scene_description>
    <character>ADA</character>
    <dialogue>She's down.</dialogue>
    <character>LUCY</character>
    <dialogue>It's not going to last. She'll be up in a minute.</dialogue>
    <character>ADA</character>
    <dialogue>Maybe not. Let's wait and see.</dialogue>
    <character>LUCY</character>
    <dialogue>What the hell am I going to do, mom? I can't do it.</dialogue>
    <character>ADA</character>
    <dialogue>It'll pass.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>LUCY</character>
    <dialogue>I don't love her.</dialogue>
    <character>ADA</character>
    <dialogue>Yes, you do. It's lack of sleep. You're not yourself.</dialogue>
    <character>LUCY</character>
    <dialogue>She's this -- thing -- on my bed. She's this -- creature -- from --. I'm angry at her.</dialogue>
    <character>ADA</character>
    <dialogue>For what?</dialogue>
    <character>LUCY</character>
    <dialogue>She's taken over everything. All day and night. Me, me, me. Feed me, hold me, clean me. I do it all and she cries and wails anyway. Who the fuck does she think she is?</dialogue>
    <scene_description>Lucy breaks down crying again. Ada blows up:</scene_description>
    <character>ADA</character>
    <dialogue>Oh, for god's sakes, Lucy -- you're not the first woman to have a baby. Shit!</dialogue>
    <scene_description>Lucy is stunned. Jesus! Stop whining and grow the fuck up and get your act together and be the mother! Lucy looks at her mother in shock, then nods and breaths, trying to calm down. The women regroup. Then: ADA (cont'd) Listen -- let's change the plan. Let's let her cry herself to sleep. Lucy thinks about it. ADA (cont'd) It'll be hard, okay. Really hard. But after a couple of days --. The baby begins to cry. ADA (cont'd) After a couple of days she'll get used to it. Okay? It's for the better. Lucy nods. The baby cries harder. Then harder. Lucy whispers.</scene_description>
    <character>LUCY</character>
    <dialogue>Jesus.</dialogue>
    <scene_description>Ada takes her finger to her lips: hush. Then Ada gets up and closes the door. They sit there for a long time while the baby cries. Lucy begins to cry too. Finally she gets up and storms out. Ada runs after her.</scene_description>
    <character>ADA</character>
    <dialogue>Lucy!</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BEDROOM - CONTINUOUS</stage_direction>
    <scene_description>Ada runs in just as Lucy is picking up the baby and dances around with her, trying to calm her down.</scene_description>
    <character>LUCY</character>
    <dialogue>We can't let her cry herself to sleep. Okay? We're not going to. Tell me we're not going to.</dialogue>
    <character>ADA</character>
    <dialogue>Fine -- we won't.</dialogue>
    <scene_description>calmly.</scene_description>
    <character>LUCY</character>
    <dialogue>What's the secret?</dialogue>
    <scene_description>Ada gestures "who knows?". Lucy holds up the baby to her face. The baby looks into her eyes. Lucy looks back.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ELIZABETH'S BEDROOM - NIGHT</stage_direction>
    <scene_description>Elizabeth writes a letter.</scene_description>
    <character>ELIZABETH (V.O.)</character>
    <dialogue>I was born November 7, 1973. I don't \* want to impose myself on you. I don't want to be a nuisance. I am pregnant and I'd like my baby to know where she comes from. I live in Los Angeles. I am successful in my work and financially independent. I am open to sharing more about myself and if you were open to that as well, it would be welcome. If you don't want to communicate with me, I will also understand and accept it.</dialogue>
    <scene_description>A beat. She writes again.</scene_description>
    <character>ELIZABETH (V.O.)</character>
    <dialogue>If we were to meet, I think we should look forward, not back, and build something new. My name is Elizabeth. I think of you often.</dialogue>
    <scene_description>Her writing the letter is intercut with Elizabeth setting up a camera and sitting for a self-portrait.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ADOPTION AGENCY - DAY</stage_direction>
    <scene_description>Elizabeth sits across from an AGENCY WORKER, a YOUNG MAN. We do not hear what they say, but eventually Elizabeth hands the man a sealed letter-sized envelope. The man takes it and after a beat Elizabeth realizes that's it and gets up. After Elizabeth has left, the man puts the letter on his desk. The phone rings and he picks up. During the call another WORKER comes into the room and places documents over Elizabeth's letter, burying it. After hours. Most people are gone and the office is quiet. Elizabeth is at a file cabinet next to her desk. The sound of the office door opening makes her look up. It's PAUL. He walks up to her desk.</scene_description>
    <character>ELIZABETH</character>
    <dialogue>Hello, Paul.</dialogue>
    <scene_description>Paul remains standing, just taking her in. She waits.</scene_description>
    <character>PAUL</character>
    <dialogue>I met someone else three months ago. She's caring and smart and good for me. We're talking about moving back East.</dialogue>
    <scene_description>A beat. I'm going to say goodbye to all that -- and I want you to come back and be with me. And you can grow roots here and I'll stay at the firm and I'll pave your way to the top. You're what I want. I'm going to care of you -- both of you. And I'm never going to leave. He walks away. Elizabeth is trembling.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ELIZABETH'S APARTMENT - NIGHT</stage_direction>
    <scene_description>Elizabeth is packing two large suitcases.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. GARAGE - NIGHT</stage_direction>
    <scene_description>Elizabeth places the heavy suitcases in the trunk of her car with difficulty.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ELEVATOR - NIGHT</stage_direction>
    <scene_description>Elizabeth loads two full and heavy cardboard boxes into the elevator and presses the button. The elevator stops at a floor and Violet walks in. Elizabeth is about to say something but realizes Violet doesn't realize she's there. Elizabeth backs up and they ride in silence, Elizabeth quiet as a mouse and Violet unaware of her presence. Elizabeth observes Violet with obvious tenderness, fighting back tears. Elizabeth kisses the tips of her fingers and reaches out close to Violet, but without making contact. At the ground floor Violet gets out.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. GARAGE - NIGHT</stage_direction>
    <scene_description>Elizabeth opens the back door of the car and is loading the two boxes when the pain in her lower abdomen makes her fold over and drop the box. Elizabeth can hardly stand up from the pain. She remains on her knees and breathes deeply.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ER - NIGHT</stage_direction>
    <scene_description>Dr. Morgan comes in to find Elizabeth in pain.</scene_description>
    <character>DR. MORGAN</character>
    <dialogue>How are we doing here?</dialogue>
    <character>ELIZABETH</character>
    <dialogue>I'm scared.</dialogue>
    <character>DR. MORGAN</character>
    <dialogue>Let's have a look.</dialogue>
    <scene_description>He raises the hospital gown and touches Elizabeth's lower belly ever so lightly.</scene_description>
    <character>DR. MORGAN</character>
    <dialogue>You're bleeding internally.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>I don't want a C-section.</dialogue>
    <character>DR. MORGAN</character>
    <dialogue>It's not just the C-section -- we have to contain the hemorrhage.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>I want to see her when she's born. Don't knock me out.</dialogue>
    <character>DR. MORGAN</character>
    <dialogue>If things get complicated it'll be better if you're under general anesthesia.</dialogue>
    <character>ELIZABETH</character>
    <dialogue>You don't have my permission to knock me out, doctor!</dialogue>
    <scene_description>Then, in a different tone:</scene_description>
    <character>ELIZABETH</character>
    <dialogue>Please don't.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. O.R. - NIGHT</stage_direction>
    <scene_description>Elizabeth is awake but looks pale and tired as the doctors work to extract the baby. feelings. A couple of nurses and a doctor move around Elizabeth, as the work climate in the room seems to become more tense and hurried. After a few moments the nurse steps back in and takes the baby and hold her up for Elizabeth to kiss. Then, as the baby's face is pulled away Elizabeth's eyes lose their focus. The color is draining from her face.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. O.R. - LATER</stage_direction>
    <scene_description>Close on a very pale Elizabeth, on the operating table, her lifeless eyes still slightly open. More at peace than we've ever seen her.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. DAY/NIGHT</stage_direction>
    <scene_description>Views of the San Fernando Valley A garbage truck making its rounds. High power cables humming in the sun. A street with no pedestrians at dusk.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ADOPTION AGENCY - DAY</stage_direction>
    <scene_description>A WOMAN AGENCY WORKER is looking through boxes with documents when she discovers Elizabeth's letter to Karen. The woman worker shows the letter to Sister Joanne. Joanne looks through file cabinets for Karen's file. She puts the envelope in the file and makes a note of it on a piece of paper. She's about to walk away when something stops her. She opens the file again and checks Elizabeth's name on the envelope. Sister Joanne checks another file, then checks through records on the computer. She realizes the connection between Elizabeth and Karen, and therefore between Karen and the baby Lucy adopted.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. JOANNA'S OFFICE - DAY</stage_direction>
    <scene_description>Karen walks in to find Sister Joanne.</scene_description>
    <character>SISTER JOANNE</character>
    <dialogue>Sit down, please.</dialogue>
    <character>KAREN</character>
    <dialogue>No. What's going on?</dialogue>
    <scene_description>A beat.</scene_description>
    <character>SISTER JOANNE</character>
    <dialogue>This letter is for you.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>KAREN</character>
    <dialogue>From her?</dialogue>
    <character>SISTER JOANNE</character>
    <dialogue>Yes.</dialogue>
    <character>KAREN</character>
    <dialogue>Did you meet with her?</dialogue>
    <character>SISTER JOANNE</character>
    <dialogue>No. She must have spoken to one of my co- workers.</dialogue>
    <character>KAREN</character>
    <dialogue>When was this?</dialogue>
    <scene_description>A beat.</scene_description>
    <character>SISTER JOANNE</character>
    <dialogue>I'm afraid it was a while back. We're not sure. The letter was misplaced. I'm very sorry about that.</dialogue>
    <scene_description>Karen looks at the letter in Sister Joanne's hand, but Joanne doesn't hand it over, she just looks at Karen. Finally:</scene_description>
    <character>KAREN</character>
    <dialogue>What?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. KAREN'S HOME - NIGHT</stage_direction>
    <scene_description>Paco comes in. It's a joke. No answer. Karen walks in slowly from the hallway that leads to the bedrooms.</scene_description>
    <character>KAREN</character>
    <dialogue>She's been dead for over a year.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>KAREN (CONT'D)</character>
    <dialogue>There is a daughter -- a little girl. She was given up for adoption -- and they can't tell me who she is or where she is. That's it. It's the end.</dialogue>
    <scene_description>A beat. KAREN (cont'd) Why did you make me look? Until I found out she was dead, she was alive. She would be alive to me right now. She makes a move as if to strike him on the chest with a fist but stops just short of it, then hugs him.</scene_description>
    <character>KAREN</character>
    <dialogue>She wrote to me. She wrote me a letter.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. DAY</stage_direction>
    <scene_description>Views of the San Fernando Valley again: a MAN trimming tree branches. a large group of GIRLS racing by on bicycles. A birds' NEST. A FREIGHT TRAIN passing by slowly.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. AMANDA'S LAW OFFICE - AFTERNOON</stage_direction>
    <scene_description>Amanda shows Karen to Elizabeth's old work station. It's now occupied by someone else's things and the desk has been re-oriented. Amanda walks away, leaving Karen by herself. Karen takes in the place. She turns to look out the window. A heavy rain is falling. and continues her work. Karen stands in the middle of the yard which has been cleaned up and re-landscaped. A YOUNG COUPLE, the new owners, watch her from nearby while their SONS play baseball.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ROOF - AFTERNOON</stage_direction>
    <scene_description>Violet is crouched down on the floor, lost in her own thoughts. Karen walks the roof slowly, the breeze blowing on her face.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. JOANNA'S OFFICE - DAY</stage_direction>
    <scene_description>Karen and Paco talk to Sister Joanne.</scene_description>
    <character>SISTER JOANNE</character>
    <dialogue>The mother has agreed to let you see her. Saturday afternoon. They have asked me to remind you that you have no legal claim over the baby. Legally Elizabeth was not your child, so you have no claim over her children. Also, after Elizabeth's death, a legal, good-faith effort was made to publish the news of her death and to look for relatives.</dialogue>
    <character>KAREN</character>
    <dialogue>What kind of effort?</dialogue>
    <character>SISTER JOANNE</character>
    <dialogue>In local newspapers. And on the county website. Nobody came forward. So the baby is now legally this woman's daughter.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>KAREN</character>
    <dialogue>How about Elizabeth's adoptive mother? Her name was in the file, wasn't it?</dialogue>
    <character>SISTER JOANNE</character>
    <dialogue>We tried to contact her. She never responded.</dialogue>
    <scene_description>A beat.</scene_description>
    <character>SISTER JOANNE</character>
    <dialogue>That's up to the mother.</dialogue>
    <character>KAREN</character>
    <dialogue>Will she let me visit her again after this time?</dialogue>
    <character>SISTER JOANNE</character>
    <dialogue>I don't know. She's not obligated to.</dialogue>
    <character>PACO</character>
    <dialogue>Don't think about that. Meet and see how it goes.</dialogue>
    <scene_description>Karen thinks about it.</scene_description>
    <character>KAREN</character>
    <dialogue>Hello and goodbye. Again.</dialogue>
    <scene_description>A beat. Sister Joanne holds out a piece of paper.</scene_description>
    <character>SISTER JOANNE</character>
    <dialogue>This is the address. The girl's name is Ella.</dialogue>
    <scene_description>Karen takes the piece of paper and looks at it. She reads it and looks at Sister Joanne, then laughs and hands it to Paco who reads it also. Karen can't stop laughing.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. LUCY'S HOUSE - AFTERNOON</stage_direction>
    <scene_description>Karen stands partly hidden behind tree branches, watching the front yard of a house where a woman sits with her back to Karen, playing with a TODDLER.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. KAREN'S HOUSE - AFTERNOON</stage_direction>
    <scene_description>Karen is on the phone.</scene_description>
    <character>KAREN</character>
    <dialogue>Hi. Sorry. I -- it's an African-American family who lives in that house. I just wanted to check that --.</dialogue>
    <scene_description>She listens. KAREN (cont'd) Okay. All right. Thanks. Bye-bye.</scene_description>
  </scene>
  <scene>
    <stage_direction>152A EXT. KAREN'S HOUSE AND STREETS - AFTERNOON 152A</stage_direction>
    <scene_description>Karen comes out of her house, closes the door behind her. We follow in an uninterrupted shot as she crosses her street, walks down to the corner, turns and walks towards Lucy's house. Lucy is resting on the lawn looking at clouds passing overhead, next to Ella who is fast asleep. The girl's face is partially covered with a blanket Lucy sits up, feeling herself watched. Karen is there, looking at the child. Lucy is a little taken aback and is about to say something when it occurs to her who this woman might be. She uncovers Ella's face and the women look at her in silence. LATER Ella is awake and she plays peek-a-boo with Karen, who is nervous but increasingly delighted. The girl laughs heartily and Karen laughs too, through tears. Ella wipes her tears. Ada watches from inside the house. The girl sees and holds the pendant around Karen's neck. Karen takes it off and puts it on the child. LATER Karen watches as Lucy and Ella play a game that involves quick little kisses on each other's face. DUSK Lucy follows Ada who carries Ella into the house as Ella waves goodbye to Karen who waves back, then slowly backs away. OMITTED Ada looks into the kitchen and finds Lucy standing at the sink, the dishes all washed and the water still running, lost in thought.</scene_description>
    <character>ADA</character>
    <dialogue>Where are you right now?</dialogue>
    <scene_description>Lucy turns off the water tap.</scene_description>
    <character>LUCY</character>
    <dialogue>I was thinking about Joseph.</dialogue>
    <scene_description>Ada waits for more.</scene_description>
    <character>LUCY</character>
    <dialogue>He was a stranger once -- then he was the love of my life. Now I don't know what he is any more. And it doesn't matter to me.</dialogue>
    <scene_description>Ada has no comment.</scene_description>
    <character>LUCY</character>
    <dialogue>Time is ruthless, isn't it?</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. KAREN'S HOUSE - THAT NIGHT</stage_direction>
    <scene_description>Karen is at the door of her house, wearing her night gown. She's standing there, looking towards the street corner. Half of Lucy's house is visible from where Karen stands. The last light goes out in Lucy's house.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. KAREN'S HOUSE - NIGHT</stage_direction>
    <scene_description>Karen walks into the living room. Paco is standing there, waiting for her.</scene_description>
    <character>PACO</character>
    <dialogue>How are you?</dialogue>
    <scene_description>She nods "fine". He embraces her. PACO (cont'd) Are you? A beat.</scene_description>
    <character>PACO</character>
    <dialogue>Is that a good thing?</dialogue>
    <scene_description>She thinks about it.</scene_description>
    <character>KAREN</character>
    <dialogue>Yes. But I don't want to talk about it today. We'll talk about it tomorrow.</dialogue>
    <scene_description>She looks up at him and takes in his face up close. She whispers:</scene_description>
    <character>KAREN</character>
    <dialogue>Thank you.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. KAREN'S BEDROOM - LATER</stage_direction>
    <scene_description>Paco is fast asleep. Karen is writing in her notebook.</scene_description>
    <character>KAREN (V.O.)</character>
    <dialogue>I never saw you. With a new haircut. With new shoes. When was your first period? Was someone there to help? Did anyone explain? Did you hear the rain one night, when I heard it? What gave you comfort? I've missed it all -- and I've accepted it. But today I met Ella. Her little face is like a bird that flies high over thirty-eight years that \* have gone on and on and on like a horrible parade. But now it has passed. Only Ella remains, God bless her. Ella is peace.</dialogue>
    <scene_description>She picks up the envelope that Sister Joanne gave her (it's already been opened by her before) and takes out a letter and two photos. She reads the letter and it makes her smile. Karen puts the notebook aside and rests the photos on her side table and lies down to look at them. One photo is the self-portrait of a pregnant Elizabeth, the other is the school photo of Elizabeth, age 8. Karen looks at them -- scared, curious, marvelled -- then turns out the lights.</scene_description>
  </scene>
</script>

Summary: When she was 14, Karen became pregnant and her mother decided for her to give her daughter up for adoption. The decision to give up her child has always haunted her. Ever since, Karen has had difficulty forming connections with people. Upon meeting laid-back Paco at work, Karen allows her anxiety and mistrust to get the best of her. She is initially hostile and suspicious of his friendliness and interest. Karen gradually calms her anxiety through her growing relationship with Paco, and eventually they get married. Paco persuades Karen to write a letter to her unknown, adult daughter, and she leaves the letter with the Catholic agency that had arranged the adoption. The letter isn't addressed to any name, as she's not given one, and the person who's meant to file it gets distracted. Karen's daughter, Elizabeth, grows up to be solitary, willful, and hardhearted. She is hired as an attorney at a prestigious law firm headed by Paul. They have an affair and, although Elizabeth had her tubes tied at 17, she becomes pregnant. She quits without informing Paul of her condition and moves to a new apartment and a new job. Some months pass, and Elizabeth is seen by one of Paul's daughters but denies the baby is his. Paul stops by, offering to drop a new relationship he's in to become a proper couple, which she declines. However, he does convince her to leave a letter for her biological mother with the adoption agency. Lucy is a baker who longs to be a mother, but she cannot have children of her own. She and her husband, Joseph, contact the same adoption agency and they meet with a young pregnant, prospective mother. After a protracted interview period, the mother agrees to give the couple her baby. Shortly before she gives birth, Joseph reveals that he really wants to have his own biological child and he and Lucy separate, but Lucy plans to go ahead with the adoption alone. However, the birth mother changes her mind shortly after giving birth, and Lucy is devastated by the news. Elizabeth dies while giving birth to her child. Since no one steps forward to claim the baby, the agency offers the baby to Lucy, who adopts her. At first, Lucy is overwhelmed by the demands of being a new mother and complains about it bitterly to her mother, who sets her straight. One year later, Karen finds out about Elizabeth's death and her letter, which had been misplaced, informing her that she has a granddaughter named Ella. The agency arranges a meeting and Karen meets the little girl and Lucy, who live a short distance away in her own neighborhood.