BILL
It’s network. They take out the blood-bags,
DAWN (confused but amiable)
Oh. That’s good.
INT. KATIE, CU
DENNIS (filter)
Hello?
KATIE
Just thought you’d like to know your Aunt Dawn’s fine.
DENNIS (filter)
Oh! Cool. Thanks, Mom.
INT. THE PHONE NOOK, WITH DENNIS AND THE OTHERS
He looks very relieved.
DENNIS
Aunt Dawn’s okay.
INT. THE CAR, WITH BILL AND KATIE
They drive in silence for awhile.
KATIE
You think I’m a hysterical idiot, don’t you?
BILL (genuinely surprised)
No! I was scared, too.
KATIE
You sure you’re not mad?
BILL
I’m too relieved. (Laughs) She’s sort of a scatterbrain, old Dawn, but I love her.
KATIE (leans over and kisses him)
I love you. You’re a sweet man.
BILL
I’m the boogeyman !
KATIE
I am not fooled, sweetheart.
EXT. THE CAR PASSES THE CAMERA and WE DISSOLVE TO:
INT. JEFF, IN BED
His room is dark. The covers are pulled up to his chin.
JEFF
You promise to tape the rest?
CAMERA WIDENS OUT so we can see BILL, sitting on the bed.
BILL
I promise.
JEFF
I especially liked the part where the dead guy ripped off the punk rocker’s head.
BILL
Well . . . they used to take out all the blood-bags.
JEFF
What, Dad?
BILL
Nothing. I love you, Jeffie.
JEFF
I love you, too. So does Rambo.
JEFF holds up a stuffed dragon of decidedly unmilitant aspect. BILL kisses the dragon, then JEFF.
BILL
‘Night.
JEFF
‘Night. (As BILL reaches his door) Glad Aunt Dawn was okay.
BILL
Me too.
He goes out.
INT. TV, CU
A guy who looks like he died in a car crash about two weeks prior to filming (and has since been subjected to a lot of hot weather) is staggering out of a crypt. THE CAMERA WIDENS to show BILL, releasing the VCR PAUSE button.
KATIE (voice)
Booga-booga.
BILL looks around companionably. THE CAMERA WIDENS OUT MORE to show KATIE, wearing a sexy nightgown.
BILL
Same to you. I missed the first forty seconds or so after the break. I had to kiss Rambo.
KATIE
You sure you’re not mad at me, Bill?
He goes to her and kisses her.
BILL
Not even a smidge.
KATIE
It’s just that I could have sworn it was one of mine. You know what I mean? One of mine?
KATIE
I can still hear those sobs. So lost . . . so heartbroken.
BILL
Kate, have you ever thought you recognized someone on the street, and called her, and when she finally turned around it was a total stranger?
KATIE
Yes, once. In Seattle. I was in a mall and I thought I saw my old roommate. I . . . oh. I see what you’re saying.
BILL
Sure. There are sound-alikes as well as look-alikes.
KATIE
But . . . you know your own. At least I thought so until tonight.
She puts her cheek on his shoulder, looking troubled.
KATIE
I was so positive it was Polly . . .
BILL
Because you’ve been worried about her getting her feet under her at the new school . . . but judging from the stuff she told you tonight, I’d say she’s doing just fine in that department. Wouldn’t you?
KATIE
Yes . . . I guess I would.
BILL
Let it go, hon.
KATIE (looks at him closely)
I hate to see you looking so tired. Hurry up and have an idea, you.
BILL
Well, I’m trying.
KATIE
You coming to bed?
BILL
Soon as I finish taping this for Jeff.
KATIE (amused)
Bill, that machine was made by Japanese technicians who think of damned near everything. It’ll run on its own.
BILL
Yeah, but it’s been a long time since I’ve seen this one, and . . .
KATIE
Okay. Enjoy. I think I’ll be awake for a little while. (Pause) I’ve got a few ideas of my own.
BILL (smiles)
Yeah?
KATIE
Yeah.
She starts out, showing a lot of leg, then turns in the doorway as something else strikes her.
KATIE
If they show that part where the punk’s head gets —
BILL (guiltily)
I’ll edit it.
KATIE
‘Night. And thanks again. For everything.
She leaves. BILL sits in his chair.
INT. TV, CU
A couple is necking in a car. Suddenly the passenger door is ripped open by the dead guy and we DISSOLVE TO:
INT. KATIE, IN BED
It’s dark. She’s asleep. She wakes up . . . sort of.
KATIE (sleepy)
Hey, big guy —
She feels for him, but his side of the bed is empty, the coverlet still pulled up. She sits up. Looks at:
INT.
A CLOCK ON THE NIGHT-TABLE, KATIE’S POV
It says 2:03 A.M. Then it flashes to 2:04.
INT.
KATIE
Fully awake now. And concerned. She gets up, puts on her robe, and leaves the bedroom.
INT. THE TV SCREEN, CU
Snow
KATIE (voice, approaching)
Bill? Honey? You okay? Bill? Bi —
INT.
KATIE, IN BILL’S STUDY
She’s frozen, wide-eyed with horror.
INT.
BILL, IN HIS CHAIR
He’s slumped to one side, eyes closed, hand inside his shirt. DAWN was sleeping. BILL is not.
EXT.
A COFFIN, BEING LOWERED INTO A GRAVE
MINISTER (voice)
And so we commit the earthly remains of William Weiderman to
the ground, confident of his spirit and soul. ‘Be ye not cast down, brethren . . . ‘
EXT.
GRAVESIDE
All the WEIDERMANS are ranged here. KATIE and POLLY wear identical black dresses and veils. CONNIE wears a black skirt and white blouse. DENNIS and JEFF wear black suits. JEFF
is crying. He has Rambo the Dragon under his arm for a little extra comfort.
CAMERA MOVES IN ON KATIE. Tears course slowly down her cheeks. She bends and gets a handful of earth. Tosses it into the grave.
KATIE
Love you, big guy.
EXT. JEFF
Weeping.
EXT. LOOKING DOWN INTO THE GRAVE
Scattered earth on top of the coffin.
DISSOLVE TO:
EXT. THE GRAVE
A GROUNDSKEEPER pats the last sod into place.
GROUNDSKEEPER
My wife says she wishes you’d written a couple more before you had your heart attack, mister. (Pause) I like Westerns, m’self.
THE GROUNDSKEEPER walks away, whistling.
DISSOLVE TO:
EXT. A CHURCH
DAY
TITLE CARD: FIVE YEARS LATER
THE WEDDING MARCH is playing. POLLY, older and radiant with joy, emerges into a pelting shower of rice. She’s in a wedding gown, her new husband by her side.
Celebrants throwing rice line either side of the path. From behind the bride and groom come others. Among them are KATIE, DENNIS, CONNIE, and JEFF . . . all five years older. With KATIE is another man. This is HANK. In the interim, KATIE has also taken a husband.
POLLY turns and her mother is there.
POLLY
Thank you, Mom.
KATIE (crying)
Oh doll, you’re so welcome.
They embrace. After a moment POLLY draws away and looks at HANK. There is a brief moment of tension, and then POLLY embraces HANK, too.
POLLY
Thank you too, Hank. I’m sorry I was such a creep for so long . . .
HANK (easily)
You were never a creep, Pol. A girl only has one father.
CONNIE
Throw it! Throw it!
After a moment, POLLY throws her bouquet.
EXT. THE BOUQUET, CU, SLOW MOTION
Turning and turning through the air.
DISSOLVES TO:
INT. THE STUDY, WITH KATIE
The word-processor has been replaced by a wide lamp looming over a stack of blueprints. The book jackets have been replaced by photos of buildings. Ones that have first been built in HANK’S mind, presumably.
KATIE is looking at the desk, thoughtful and a little sad.
HANK (voice)
Coming to bed, Kate?
She turns and THE CAMERA WIDENS OUT to give us HANK. He’s wearing a robe over pajamas. She comes to him and gives him a little hug, smiling. Maybe we notice a few streaks of gray in her hair; her pretty pony has done its fair share of running since BILL died.
KATIE
In a little while. A woman doesn’t see her first one get married every day, you know.
HANK
I know.
THE CAMERA FOLLOWS as they walk from the work area of the study to the more informal area. This is much the same as it was in the old days, with a coffee table, stereo, TV, couch, and BILL’S old easy-chair. She looks at this.
HANK
You still miss him, don’t you?
KATIE
Some days more than others. You didn’t know, and Polly didn’t
remember.
HANK (gently)
Remember what, doll?
KATIE
Polly got married on the five-year anniversary of Bill’s death.
HANK (hugs her)
Come on to bed, why don’t you?
KATIE
In a little while.
HANK
Okay. Maybe I’ll still be awake.
KATIE
Got a few ideas, do you?
HANK
I might.
KATIE
That’s nice.
He kisses her, then leaves, closing the door behind him. KATIE sits in BILL’S old chair. Close by, on the coffee table, is a remote control for the TV and an extension phone. KATIE looks at the blank TV, and THE CAMERA MOVES IN on her face. One tear rims one eye, sparkling like a sapphire.