INT. - PHOTOGRAPHER'S STUDIO
Carla Marie Freed: I told you, don't move.
[title card: New York City, 1986]
[A female photographer, Carla Marie Freed, photographs another woman in a darkened studio. The woman stands completely still against a dark backdrop, in the nude. Music plays in the background.]
Carla: Let your, um, let your arms fall by your sides.
[The woman stands with arms by her sides, hands slightly turned up. She glances up at the camera.]
Carla: That's beautiful.
[Carla turns off a lamp, plunging the room into darkness; a bright camera flash illuminates them for a second. She photographs the woman, then approaches her. Carla picks up a small lamp and slowly shines it up the woman's hip, arm, shoulder. After a moment, she sets the lamp down and begins kissing her.]
[Fade to white.]
[main title credits.]
INT. - ALICE'S APARTMENT - BEDROOM - MORNING
[Alice and Gabby are in bed, sleeping. A car horn honks outside.]
Gabby: Oh, god damn it.
[Gabby wakes up and gets out of bed. She starts putting on her clothes.]
Alice: (groggy) What?
Gabby: (irritated) I thought you set the alarm?
Alice: I did, you snoozed it.
Gabby: (irritated) I'm late for my f*cking dumb-ass job.
Alice: I'm sorry.
Alice: Do you want me to make us coffee?
Gabby: No, thanks, I'll get some on the way.
Alice: So are we gonna get together later or what?
[Gabby sits on the bed.]
Gabby: I have a screening with Joanie.
[Gabby leans over and kisses Alice.]
Gabby: (smiling) But I'll call you.
INT. - TIM & JENNY'S HOUSE - BEDROOM - MORNING
[Tim and Jenny are in bed. Tim is asleep. Jenny is awake. She carefully slides out of bed, then kisses Tim on the shoulder.]
INT. - THE PLANET - DAY
[Marina is helping some customers. Music plays in the background.]
Marina: (to worker) Ho tanto da fare oggi. (I'm really busy today.)
[Jenny stands at the counter. Marina notices her.]
Jenny: Hey. (leans forward) (whispering) Can I speak to you please?
Marina: Sure. I'll be right there. Wait a minute? (to a worker) Due bicchieri d'acqua per la tre. (Two glasses of water for table three.) (to Jenny) Do you want some coffee?
[Marina reaches out as if to touch Jenny's arm. Jenny shrinks away. Marina pulls back.]
Jenny: Thank you.
[Marina takes some coffee to patrons at a table. Jenny waits, watching her.]
INT. - CA ARTS CENTER - BOARDROOM - DAY
[Bette is talking to board members; her boss, Franklin is in the mix. A view screen on the wall shows a large painting depicting naked men in a leather bar being whipped.]
Bette: Finally, "The Flagellation" by Dalmas Howe deals with the dichotomy between man as divine and man as creature. The painting, which is large in scale and classical in its execution attempts to record the artist's experiences through juxtaposition in narrative. Richard Morrisey has called this piece "a revelation."
[Bette turns off the view screen. The board members look to her.]
Bette: "Provocations" is intended to do just that: Provoke. It is daring, it is intense, and it is the edge we have been looking for. And with a little finessing, it will be the C.A.C.'s spring exhibition.
Franklin: Isn't that our slot for the impressionists?
Bette: (laughs) Yes, but we've show "Impressions in Winter" for the last 5 years in a row. I thought this year we would wow them with something different.
Board Member: We can't move the impressionists. Everybody loves the impressionists.
Bette: (smiling) Well, the impressionists notwithstanding, you hired me to create a new profile for the C.A.C. Now, the "Provocations" exhibit will put us on the map. It premieres at Mona in New York, then after the C.A.C. it moves on to the Walker and then to London's Tate Modern.
Franklin: Okay, well just assuming for a moment that we were willing to forego "Impressions in Winter," despite the fact that it's our most popular exhibit bar none, uh, for this, um, cause celebre out of New York. What makes you think you can procure it for the C.A.C.?
Bette: Well, I've set up a meeting with Gina Ferrara, who is the curator of the Peggy Peabody collection. I know that both MOCA and LACMA are after it, but I'm completely confident that I can talk —
Board Member: Bette, it is obvious that you have gone to a great deal of trouble to prepare for this presentation. But, it isn't worth the risk. "Impressions in Winter" is ... is too important to us.
[The other board members make noises of agreement.]
Bette: With all due respect, Franklin... if I'm not the one selecting the shows, then I don't understand what I'm here for.
Franklin: To do what's best for the C.A.C. I would think that would be fairly obvious. Now what I need you to do is to follow up with Sheldon Tomlin over at Hoyt and iron out the details. We wouldn't want one of our rivals running off with "Impressions" because we were a little slow on the uptake, now would we?
[Bette puts her hands up.]
Bette: Wait, wait, wait, I'm sorry. Follow up?
Bette: You've booked it already?
Franklin: I, uh, happened to have lunch with Shelly last week and I... I thought I'd save you the time.
[Bette looks deflated.]
Franklin: (to group) Well, everyone, thanks, and uh, how 'bout, uh, thanking Miss Porter for all her hard work.
[The group claps.]
Franklin: Great job!
INT. - THE PLANET - DAY
[Marina serves a couple some coffee then goes over to a table where Jenny waits. Jenny looks tired. Music plays in the background.]
Marina: Do you want to go to my office?
Jenny: No. This is just gonna take a minute.
[Alice and Shane walk in and spot Jenny and Marina.]
Alice: Hey! How are ya?
[Alice and Marina hug.]
Alice: Hey Jenny!
Jenny: (to Marina) Can we go into your office, please?
Marina: Yeah, sure.
Jenny: Thank you. Okay.
[Jenny nods politely at Alice and Shane. She pats Shane's shoulder.]
Shane: Hey, Jenny, how are you?
[Jenny and Marina walk to Marina's office.]
Alice: (smiling) Whatever. (to Marina) Can we have our table?
[Alice and Shane sit down at their table.]
Alice: Did you see that?
[Shane looks at Marina and Jenny, then down at her newspaper.]
Alice: You can't tell me, right?
Shane: (joking) Right, Al, I can't tell you.
INT. - THE PLANET - MARINA'S OFFICE - DAY
[Marina and Jenny go inside. Jenny closes the door. Marina leans against her desk.]
Marina: What's on your mind, Jenny?
[Jenny seems nervous.]
Jenny: (a beat) I can't be around you. Anymore. It's confusing to me and it makes me feel insane.
[Marina looks a tiny bit hurt.]
Jenny: You know, Tim has been so wonderful to me.
[Marina looks down.]
Jenny: And I think that this is the very first time in my life... that I've actually felt safe.
[Marina stares at Jenny, then stands up.]
Marina: Do you want to be safe?
[Jenny struggles for words and sighs.]
Jenny: I'm gonna marry Tim.
[After a moment, Marina smiles.]
Jenny: I can't imagine my life without him. I don't want to imagine my life without him.
Marina: (nodding) Is that what you want?
Jenny: (smiles) Yes. That is what I want.
Marina: (smiling) Then I wish you well.
[Marina kisses Jenny on the cheek and leaves.]
INT. - THE PLANET - DAY
[Alice and Shane are both reading the paper. Alice taps a pencil on the table. Shane finishes her coffee and sets the cup down.]
Shane: I'm gonna get another, you okay?
Alice: (to the tune of "Hey Mickey" by Toni Basil) Hey Gabby, you're so fine, you're so fine you blow my mind...
Shane: Easy with the 80s pop this early in the morning.
Alice: (to the tune of "Hey Mickey" by Toni Basil) Hey Gabby, hey Gabby.
Shane: (staring) (smiles) Tell me you didn't.
Alice: Okay. (puts paper away) Think what you will, she's amazing. She's amazing-looking, she's amazingly smart, she's amazing in bed.
Shane: She treats you like sh1t.
Alice: No, she doesn't.
Shane: Yes, she does.
Alice: No, not this time. Totally changed.
Shane: I don't know, Alice, she still seems pretty cold in the streets to me.
Alice: Cold in the streets, hot in the sheets.
[Shane doesn't look impressed.]
Alice: She's happier! She's writing her lesbian cops screenplay. She's a whole new Gabby.
[Shane still doesn't look impressed.]
Alice: No, no, no, not saying "nothing" with that face.
Shane: Allright, let - let's say hypothetically that ... I saw Gabby all over Nadia Meirtschin ... on Thursday night.
Alice: (squinting, disbelief) Where?
Alice: What were they doing?
Shane: (shakes head) I... I'd prefer not to give you the details this time.
[Alice looks crestfallen.]
INT. - COUNTRY CLUB - KITCHEN
[Lara is cutting vegetables at her work area. Dana walks through, looking around for her. She finally sees her.]
Dana: (smiles) Hey...
Lara: (looks up) Hey!
[Lara cuts her thumb.]
Dana: Oh, my god! Oh - oh, my god, I'm sorry, I —
Lara: It's okay.
Dana: (freaking out) Ah, Jesus, you're disfigured!
Lara: (smiling, calm) I'm not disfigured.
Dana: (panicked) But I could've killed you! When you were (makes chopping motion)... you know...
Lara: (smiling) It happens all the time.
Dana: Well, should we call a doctor?
Lara: (giggles) Dana!
[Lara holds up her hand, counting off fingers.]
Lara: Second-degree burn from the béchamel sauce. Run-away shish-kabob. An attack from a particularly hostile live lobster, and, um, electric can-opener.
[Dana blushes a little.]
Dana: Is there anything I can do?
Lara: You could kiss it and make it better.
[Lara holds up her thumb. Dana chuckles. Dana suddenly begins to look very serious and nervous.]
Dana: Um. I was wondering if maybe sometime —
Lara: I would love to.
[Lara smiles and nods.]
Dana: Okay. (giggles) Okay! Is Thursday night okay?
Lara: Thursday night is great.
Dana: Where do you wanna go?
Lara: Anywhere you're going.
Dana: Yeah, but you're a food person. So, I want to take you someplace really good. Like L'Orangerie.
Lara: No, no, no, that's way too expensive.
Dana: I know. I'll take care of it.
Lara: We're not starting out that way. Um... there's - there's this little place in Koreatown that I've been dying to check out.
Dana: Do I need to make a reservation?
Lara: How about if I take care of that part, and you just pick me up at 8?
Dana: (smiles) Okay.
Dana: Okay, bye.
[Dana turns to leave.]
Dana: (turning around) Yeah?
Lara: Thanks for asking me out.
Dana: (suavely) Oh yeah, no problem.
[Dana backs away. They're both smiling at each other. Dana bumps into someone carrying dishes. Lara giggles.]
INT. - BETTE & TINA'S HOUSE - NIGHT
[Bette is on her cell phone, pacing the living room.]
Bette: (phone) Yeah, Gina Ferrara please, it's Bette Porter. (a beat) We're having drinks. (a beat) No, can you just let her know that I got her message and the Four Seasons is fine?
[Tina walks in the front door. She has to-go food bags in her hand.]
Bette: (to Tina) You brought dinner.
Tina: You going out?
Bette: I have a drinks meeting. (a beat) The board didn't go for it.
Bette: (phone) Hello, is Greg Massey in? Yeah, it's Bette Porter from the C.A.C? Yes, I'll hold. No — can you just, uh, have him call me back, please. Thanks. (hangs up) (to Tina) I hate them all.
Tina: They didn't go for "Provocations"?
Bette: Yah, and then to pour salt on the wound, Franklin went behind my back and booked "Impressions in Winter."
Tina: So, who're you having drinks with?
[Tina walks to the table and sets the food down.]
Bette: Gina Ferrara, the curator of the Peggy Peabody collection.
Tina: I thought you said they didn't go for it?
[Bette grabs her jacket and gets ready to leave.]
Bette: I'm not rolling over. Right after the meeting, I called Sheldon Tomlin, and I unbooked the impressionists show, and now I'm gonna go prostrate myself to a woman who hates my guts.
[Bette grabs her car keys.]
Tina: Why does Gina Ferrara hate you?
Bette: We had a run-in over an artist, Megan Friedman, when we were both gallerists.
[Bette is getting her bags and stuff together.]
Tina: (smiling) That sculptor you slept with?
Bette: And she's hated me ever since.
Tina: So Gina Ferrara is a lesbian.
Bette: No... she wanted the show, I got it, and now she hates me. But, I am gonna kiss her ass.
[Bette gives Tina a goodbye kiss and heads for the door.]
Tina: She's lucky.
INT. - THE PLANET - NIGHT
[Lots of people around. Music plays in the background. We see Kit standing over a turntable, wearing headphones, spinning some tunes. Tim is in the background on his cellphone.]
Tim: (phone) Hey Jen. Hey, it's me, listen. I had a really shitty day. Uh, my 200 yard free relay team ate some bad sushi, they were up all night puking. Trish is now officially on academic probation, so, if you get the message, I'm at The Planet, I miss you, I hope you join me. Bye.
[Tim hangs up and takes a pull off his beer bottle.]
ELSEWHERE AT THE PLANET -
[Marina is shooting pool. A few guys stand around. She makes a perfect shot. The guys moan.]
Marina: (clears throat) Anyone else?
[The guys clear out. Tim comes up, sipping on his beer. Marina walks toward him with a cue.]
Tim: (chuckles) No.
Marina: Come on.
Tim: No, I'm obviously no match for you.
Marina: Well, you never know until you try.
EXT. - MILK - NIGHT
[Alice walks through a bunch of people standing around outside and heads for the door. Music from the club can be heard outside.]
INT. - MILK - NIGHT
[Alice gets a drink at the bar and sits down. After a moment, Gabby comes in.]
[Gabby goes up to Alice for a kiss, but surprises Alice by only kissing on the cheek.]
Alice: Oh... How are ya?
[A couple of girls follow Gabby in and walk up to the table. One of them is Nadia Meirtschin and she looks like a complete biotch.]
Gabby: (to Alice) You know Nadia.
Alice: Yeah, hey!
[Alice extends her hand. Nadia flips her eyes at her.]
[Alice gives Gabby a sideways look.]
Girl with Nadia: Oh, my god. Have you seen this?
[The girl holds up one of the fliers Lacey made of Shane. Is says "Shane" and "Heartbreaker" in huge letters, and Shane's face is right in the middle. Gabby and Nadia look at the flier and laugh. Alice looks uncomfortable and mad, but doesn't say anything.]
Gabby: (shaking head) Lacey. Looks like Shane finally tangled with the wrong crazy bitch.
Nadia: There's like a whole stack of them over by the door.
[Nadia and the girl leave. Alice looks at Gabby.]
Alice: Gabby? Gabby.
Alice: I was kind of hoping we could be alone.
Gabby: We can be alone with we're dead.
[Nadia and the girl come back.]
Gabby: Is that Fiona over there? I can't believe she'd even show her face in here.
[Alice looks humiliated, but smiles.]
INT. - THE PLANET - NIGHT
[Tim is playing pool. His phone starts to vibrate.]
Marina: Tim. Tim! Your phone is ringing.
[The phone continues to buzz.]
Tim: Can you get it?
[Marina answers it.]
Marina: (phone) Hello?
INT. - TIM & JENNY'S HOUSE - KITCHEN - NIGHT
[Jenny is making supper.]
c Jenny: (phone) Tim? (a beat) Uh... who is this?
Marina: (phone) Hi Jenny. It's Marina.
Jenny: Where's Tim?
INT. - THE PLANET - NIGHT
Marina: (phone) Yeah, Tim is playing pool, he asked me to answer the phone.
INT. - TIM & JENNY'S HOUSE - KITCHEN - NIGHT
[Jenny furrows her brow. She hangs up the phone.]
INT. - THE PLANET - NIGHT
[Marina hands the phone to Tim, who is leaning over the pool table to make his shot.]
Marina: I don't think she's happy.
Tim: Oh. (takes phone) Jenny?
[Jenny already hung up. He hands the phone back to Marina and goes back to lining up his shot.]
Tim: She got cut off. I guess she'll call back.
[Tim makes a shot. The 8-ball smacks the 9 of stripes into the corner pocket.]
[A few people who were watching voice their approval of the shot.]
Marina: (laughing) Did you just hustle me?
Tim: Yesss! v ELSEWHERE AT THE PLANET -
[Music plays. People are up milling around, socializing, dancing. Kit stands over a turntable, wearing headphones, spinning some tunes.]
[Tina sits at a table nearby, sipping a drink, watching Kit play.]
[Kit picks up a bottle of beer and drinks from it as she dances.]
[Tina sees that and frowns disapprovingly. She sets her drink down.]
[Jenny passes Tina's table, on her way to find Tim.]
[Jenny stops when she sees Tim by the pool table with Marina. He has a hand on her waist; she has a hand on his shoulder. They're both smiling and laughing.]
[Jenny stares, looking upset. Tim turns and sees her, and still smiling, walks over to her. Marina follows.]
Tim: Jen! Hey! You okay? v [Jenny's P.O.V. — the images of Tim and Marina walking toward her are blurry and skewed. Their voices distantly echo. Jenny looks past Tim, at Marina. Marina's face blurs out.]
[Jenny passes out and falls to the floor; the picture fades out.]
[The picture fades in. Tim, Kit, Marina and Tina are all standing over Jenny, looking worried.]
Tim: (whispering) Jenny, what's going on?
Marina: Jenny, can you hear me?
Kit: Jenny, baby, can you hear me?
[Tim touches Jenny's forehead. Jenny opens her eyes; her face is as white as a ghost.]
Kit: Can you hear what I'm saying? Everybody, get back, give her some air.
[Everyone at the club is crowded around Jenny in absolute silence. They start to disperse at Kit's command.]
Kit: She's coming around. I gotta get her something for her head.
[Jenny looks up at Tim.]
Tim: Jen. Hey. It's okay. It's allright.
[Jenny looks up at Marina. Marina walks away.]
Tim: It's okay.
[Jenny sits up and puts her arms around Tim. Tim helps her to her feet. They past the bar, where someone pours Tina a glass of water. Bette has arrived and comes over to Tina.]
Bette: What happened to her?
Tina: She passed out.
Bette: Was she drinking or something?
Tina: I don't know. But somebody else was.
[Bette looks from Tina, over to Kit, who's dancing by her turntable with a beer in her hand.]
Bette: You're kidding. Why didn't you stop her?
Tina: It's not my place. How was your meeting?
Bette: (sighs) There was an accident on La Cienega, I was 15 minutes late, I got there, she'd left already.
Tina: Oh, babe. I'm sorry.
Bette: We're going to reschedule tomorrow.
Tina: C'mon. Let's get you something to eat.
[Tina takes Bette by the hand and leads her off. Bette watches her sister across the room, drinking beer.]
INT. - TIM & JENNY'S HOUSE - BEDROOM - NIGHT
[Tim kneels before Jenny, taking off her shoes. She sits on the edge of the bed.]
Tim: Well, we're definitely getting you in to a doctor tomorrow.
Jenny: It's low blood sugar.
Tim: You scared me, you know.
Jenny: (grouchy) Well, you know, you f*cked everything up because you decided to go to The Planet while I was making you dinner, and go and flirt with Marina.
[Jenny takes off her pants. Tim's mouth hangs open, unsure of what to say to her attitude.]
Tim: Don't be ridiculous.
Jenny: (getting in bed) Well, what were you doing, Tim?
Tim: Playing pool.
Jenny: With your arms around each other.
Tim: (sarcastic) You know, that's exactly right. We were making out right there in the middle of The Planet while everyone was watching.
[Jenny leers at him, then lays down.]
Tim: You need to get some sleep.
[Tim gets up and leaves.]
INTERSTITIAL - SCENES OF L.A.
[A busy commercial street. Cars honk, people shop.]
INT. - THE PLANET - DAY
[Bette and Tina sit at a table. Music plays in the background. A waiter delivers drinks to their table. Bette is on the phone, calling her office. Her assistant answers.]
Assistant: (phone) Bette Porter's office.
Bette: (phone) Hi James, it's me. Can you just, uh, forward my calls to my cell? Thanks.
[Bette hangs up. Alice walks to their table, Shane in tow. Alice is talking through a rolled-up poster. Shane is wearing sunglasses and a hooded sweatshirt.]
Alice: (through poster) Hey guys, check this out.
[Alice unfurls the poster. It's one of Lacey's posters, of Shane.]
Bette: (re: Shane's outfit) Oh, my god, it's the Unabomber.
Tina: What's going on?
Alice: (laughing) Lacey is on some sort of rampage. She's putting these all over town.
[Dana shows up and sits down at the table.]
Dana: You guys, you guys, there's a giant billboard of Shane on Sunset.
[Shane looks at her, silently miffed.]
Dana: (to Shane) (laughing) Just kidding.
[Alice rubs Shane's head and giggles. Bette and Tina laugh.]
Bette: (to Dana) So how's your lady friend?
Dana: Good. I have my date tonight!
Tina: Oh, my god, Dana's got a date.
Alice: What are you wearing?
Dana: Um... well, I was thinking of wearing that — you know, that blue sundress -
[Everyone immediately disapproves.]
Dana: (surprised) What!
Alice: How many times do I have to tell you no sundresses?
[Tina and Bette smile.]
Dana: But I'm going to a nice play, y'know, somebody might see me.
Alice: One guy recognizes you, and all of a sudden you're like Tiger Woods.
Dana: Bite my head off, god...
Shane: Jesus, Al, it's not Dana's fault Gabby's macking on Nadia Meirtschin.
Dana: Oh, god, Nadia Meirtschin, I hate that girl. I've been introduced to her, like, 24 times and she never remembers my name.
[Bette looks at Tina.]
Bette: Didn't she... try to hit up on you once, Nadia Meirtschin?
Tina: (laughs uncomfortably) She was drunk. Still...
Bette: (to Alice) It has to end.
Tina: But seriously, Alice, you can't let Gabby continue to treat you this way.
Alice: You guys don't know her. I know it looks like she's treating me like sh1t, but... it's — she's just, y'know —
Dana: Treating you like sh1t, Al.
Alice: Maybe. It's just —
Bette: No. It's just you deserve better.
Alice: I do?
[Everybody makes a face.]
Alice: Allright, I do. But... I just feel like at times, she's, like, so right there, and I feel like we connect and then, all of a sudden, she acts like I don't even exist.
Tina: That's because she's an emotional cripple.
Bette: Yeah. Emotional cripple slash narcissistic personality disorder.
Tina: And the next time she calls you? You have to end it.
Alice: I know. It's just —
Bette: It's just nothing.
Tina: What are you gonna do?
Alice: Well, I was gonna ask her —
Bette: No asking.
Tina: What are you gonna tell her?
[Alice laughs again.]
Tina: You're gonna say, "Gabby, I really enjoy the time we've spent together, but it is obvious to me that we are in different places in our lives and we want different things out of a relationship, and I respect myself too much to let you continue to treat me this way."
Bette: "It's clear to me now that you are an emotional cripple without any kind of capacity to understand true love."
Tina: "And I'm no longer willing to waste my valuable time on you."
Bette: "So step off, bitch!"
[Alice and Dana crack up. Shane smiles. Bette's phone rings. She answers it.]
Tina: Do it!
Bette: (phone) Hello? Gina! Hey!
[Bette gets up and walks a few feet away for privacy.]
Bette: (phone) I am so sorry about last night. I hope you got the message, there was this terrible accident... Yeah. I'm really looking forward to talking to you about "Provocations," I think that the... (listening) ... oh... Oh really? (listening) Well, is there any way that I could get you to reconsider because I think that the C.A.C. ... (listening) ... Okay. Allright.
[Tina gets up and goes over to her.]
Bette: (phone) No, no, no, no, thank you. Bye. (hangs up)
Tina: What happened?
Bette: (sighs) "Provocations" went to MOCA. That's where Gina was last night while I was sitting alone at the bar at The Four Seasons.
Tina: Oh, baby, I'm so sorry.
Bette: I knew Gina would screw me. I am so f*cked.
[Bette walks back to the table. Tina follows.]
Tina: Is there anyone who can overrule her?
Bette: Just Peggy Peabody, the billionairess raving lunatic.
Alice: Peggy Peabody? Unified Steel heiress?
Alice: She's in town, y'know. She's staying at the Las Alemendros, Santa Barbara. She's on some crazy art-buying spree. Spent like $6.3 million bucks yesterday.
Tina: How do you know all of this?
Alice: I was eavesdropping at L.A. Magazine. Do you guys know they want me to do a story on the 45-minute orgasm? As if?
[Bette gets up from the table again to make a phone call on her cell. She picks up her purse and heads for the door. Tina gets up to follow.]
Alice: I mean, by definition, there's short and intense, right?
Assistant: (phone) Bette Porter's office.
Bette: (phone) Hi, James? Can you, uh, get me directions for the Los Alamendros in Santa Barbara?
Assistant: (phone) Franklin found out you passed on "Impressions in Winter."
Bette: (phone) What else?
INT. - C.A.C. - BETTE'S OFFICE - DAY
[The assistant is on the phone with Bette. He's nervously watching the door.]
Assistant: (phone) Well, he's in a rage that you left the office in a time of crisis.
Bette: (phone) Tell him to bite me.
Assistant: (phone) I don't think I can say that.
Bette: (phone) You know, tell him that all great art...
EXT. - THE PLANET - DAY
[Bette is walking to her car. Tina follows.]
Bette: (phone) (cntd.) ...is a response to small-minded, corporate fascists trying to impose their ignorance on the sheep-like masses.
INT. - C.A.C. - BETTE'S OFFICE - DAY
Assistant: (phone) Why don't I just tell him you have a dentist appointment?
EXT. - THE PLANET - DAY
Bette: (phone) Just tell him it's not over until it's over. Okay, call me back with the directions. Thanks.
[Bette hangs up.]
Tina: You're going to Santa Barbara?
[Bette sighs and kisses Tina, then gets in the car.]
Tina: Good luck.
EXT. - SMALL CAFE - DAY
[Lacey stands on a sidewalk, handing fliers out to people passing by.]
Lacey: (to passer-by) Hi, how are you. (to another) Hey, how ya doing? (to another) Hey, word to the wise, watch out for that woman.
[A woman and her daughter walk by.]
Lacey: (to woman) Ma'am, how're you doing, keep an eye on your daughter, you never know.
[The woman takes the flier and reads as she and her daughter keep walking.]
Woman: (reading) Oh, my god...
Lacey: (to another) Hi. Heads up.
[Lacey turns to her right. Shane is there. Shane looks disappointed. Lacey holds up one of the fliers. It has Shane's face and name on it, and reads "Shane" and "Heartbreaker" in huge letters.]
Lacey: So what do you think? I learned Photoshop.
[Shane stares at Lacey for several seconds.]
Shane: (calm) Lace, what are you doing?
Lacey: Whatever I feel like. Isn't that what you do?
[Lacey hands a flier to a man passing by.]
Shane: Allright. Enough. C'mon.
[Shane puts her arm around Lacey and guides her around the corner for some privacy. There are fliers of Shane's face posted on the side of the building that say "User" in huge letters.]
Shane: I think we have a big misunderstanding. I mean, you and me had a really great time together, but —
Lacey: I know, that's why I don't understand what happened.
Shane: Babe, nothing happened. Okay? It's just about having a good time and enjoying each other's company.
Lacey: I know, but then you went off with the other girl.
Shane: Yeah. I don't see what the problem is with that.
[Lacey stares past Shane, listening.]
Shane: Look, Lace, (grabbing Lacey's jacket lapels) you're beautiful. And I like you a lot. But... I like a lot of people.
Lacey: What does she have that I don't have?
Shane: Nothing. It's not about having something or not having something.
[Lacey is confused.]
Lacey: Did you like f*cking her better?
Shane: (a beat) No.
Lacey: Because I really liked f*cking you.
Shane: Yeah, I liked f*cking you, too, Lace.
Lacey: So then, what's the problem?
Shane: (a beat) I don't do relationships.
Lacey: I'm not asking for a relationship.
[Lacey looks away. Shane tries to keep her gaze.]
Shane: W — wait — don't... hey, don't cry.
Lacey: I am not crying.
Shane: Yes, you are... I hate it when girls cry, allright? C'mere.
[Shane puts her arms around Lacey and holds her.]
Lacey: I just really like you, is all.
Shane: Yeah, I like you, too. I do.
Lacey: I guess I got carried away with the posters and fliers and... the banner.
[Shane stops hugging Lacey and looks her in the eye.]
Shane: You — you made banners?
Lacey: Just one. But they wouldn't let me hang it at Girl Bar.
Shane: (smiles) Honey, you have a lot of feelings.
Lacey: I know, but then you went off with the other girl!
Shane: No, no, no, shhh...
[Shane embraces Lacey again.]
Shane: ... don't, please, don't, don't... Forget about it, okay, don't even think about that.
Lacey: I don't want a relationship with you, I just want to be with you all the time.
[Shane pulls back and looks around.]
Lacey: Oh, hey, oh... Oh, I am so dumb. I am always doing this. I just want to know why everybody always abandons me.
Shane: Wait, no one's abandoning you.
Lacey: Everybody leaves.
[Shane is paying close attention.]
Lacey: My father left when I was 5. My mom died. My sister...
Shane: What happened with your sister?
Lacey: She moved to West Covina.
Shane: I'm not going anywhere, okay? I'm not going anywhere.
[Shane hugs Lacey again. After a moment, they pull apart. Shane looks her close in the eye.]
Lacey: Okay. Yeah.
[Lacey kisses Shane. The kiss deepens, and Shane returns it.]
EXT. - L.A. FREEWAY - DAY
[Bette races along in her car, on her way to Santa Barbara.]
EXT. - OUTSIDE LARA'S APARTMENT BUILDING - DUSK
[Dana is walking up to Lara's apartment. She's on the phone.]
Dana: (phone) Al, it's Dana. Al. Alice! Don't worry, I'm wearing pants. No, they're not patterned. Look, I'll call you after, okay? (a beat) I'm not gonna have — hold on. Just hold on.
[Dana walks up to the door of the apartment building but the doors are locked. She spots an intercom and presses some buttons.]
Lara: (intercom) I'll be right down.
Dana: (phone) Okay, look, she's coming, I gotta go.
[Dana checks her teeth in the reflection of the door glass.]
Dana: (phone) Hm? (agitated) No, I'm not going to have s*x with her tonight, it's our first date, god! I'll call you later, bye.
[Dana hangs up. Lara comes out of the door of her building, wearing a dress. She looks at Dana.]
Lara: I overdressed.
[Dana stares at her. Lara looks amazing.]
Dana: No, no...
Lara: Oh, god, I feel like such a geek.
Dana: No, no, I... my friends made me wear this.
Dana: My friends said that they thought that you would think I was a geek if, you know, if I wore a dress.
Lara: So, I am a geek.
Dana: No, I'm a geek. For letting my friends tell me what to wear.
Lara: Well, I could go change... so you don't feel so geeky.
Dana: (a beat) No, you look beautiful.
Dana: Oh, god, see? That was totally... I'm just a total geek.
[Lara steps closer to Dana.]
Dana: I'm just —
[Lara kisses Dana.]
Lara: Shall we go?
[Lara puts her arm through Dana's and they walk off together.]
INT. - LOS ALAMENDROS RESORT - LOBBY - NIGHT
[Bette walks in and heads for the reception desk and speaks with the concierge.]
Concierge: Hello, and welcome to Los Alamendros. How may I help you?
Bette: Yes, I'm here to see Mrs. Peabody.
Concierge: The code word?
Bette: You need a secret code to see Peggy Peabody?
Concierge: That's correct.
Bette: ... Shazam.
[The concierge produces a pen from his jacket and hands it to Bette.]
Concierge: Perhaps you'd like to leave a note?
[Bette is about to take the pen when she hears the sound of tiny dogs barking. She turns around just in time to see Peggy Peabody, eccentric heiress, weighted down by shopping bags, 2 Pomeranian dogs in tow.]
Bette: (to Concierge) That's her, isn't it? Right?
[Bette follows Peggy.]
Bette: Mrs. Peabody? Mrs. Peabody?
[Peggy turns to see who's calling after her.]
[Peggy gets on a nearby elevator. Her dogs are yapping like mad. Bette follows her in.]
Peggy: (groans) Well. My driver was late. That's my excuse, and it's going to have to stand. You have so much traffic in this infernal city, I don't know how you stand it.
Bette: Well, you get used to it, actually.
Peggy: Absurd. Penthouse.
[Bette presses the elevator button for the penthouse suites.]
Peggy: (to dog) C'mere.
[Peggy picks up one of her yapping dogs and hands it to Bette.]
Peggy: Hold him for me, would you? Here we go.
INT. - LOS ALAMENDROS RESORT - PENTHOUSE SUITE - NIGHT
[Peggy's apartment. It's very posh. Various photographs and paintings lean against the walls here and there, newly bought.]
[Peggy is taking one of her dogs off its leash.]
Peggy: (to dog) Now, go away! Don't come back!
[The dog scampers off. Bette, still holding the other dog, closes the front door. Peggy walks across the room.]
Peggy: (sighs) I let José off.
[Peggy begins flipping through some papers on a desk.]
Peggy: Oh, he's my helper. He's in love with this girl who works for the Weintraubs. Or is it the Fleischmans, I'm not certain. Mad, obsessive love!
[Peggy walks to another desk and starts going through other papers and mail.]
Peggy: I told him, "Go! Be in love! Take the night, show her the sea." I think people in love should see the sea.
Bette: Mrs. Peabody, I'm —
Peggy: Oh, call me Peggy. I don't like "Mrs.", it's so frumpy. Like I'm an old mare.
Peggy: You're here about the Kandinsky.
Peggy: What're you drinking?
Bette: Um, nothing, I'm fine.
Peggy: Oh! Nonsense. I had this ridiculous drink the other night. Uh, José made it for me. Mango juice and vodka, I think? Just ridiculous. (calls out) José!
Bette: (looks around) I think José is out. At the sea.
Peggy: Oh. Of course.
[Peggy walks to the liquor cabinet.]
Peggy: He's in love.
Bette: (laughs) Right!
Peggy: (opens cabinet) Now. This drink has a very salutary effect. It's called "Roadkill." See if you like it.
[Peggy pours a glass and hands it to Bette. Bette smells it before drinking.]
[Peggy pours herself a glass.]
Bette: Mm! Delicious!
Peggy: So, when can I see it?
Bette: See what?
Peggy: The Kandinsky. You have a reputation for driving a very hard bargain, Miss Reynolds.
[Peggy goes to a desk where sits an answering machine.]
Bette: I think you have me confused with someone —
Peggy: (smiling) But I will have it.
Bette: I — I'm afraid that you have me confused with s — uh —
[Peggy presses a button on her answering machine. It beeps.]
Peggy: How does this damned thing work. Oh! Nasty little machine.
[José's voice is heard on the answering machine.]
José: (machine) This is Miss Peabody's room. Leave a message at the tone.
[The machine beeps again as it begins to play. Abby Reynolds, Peggy's appointment with the Kandinsky, has left a message.]
Abby Reynolds: (machine) Hi Peggy. This is Abby Reynolds. I'm so sorry, but I'm going to have to cancel on our appointment this evening. Let's reschedule the talk about the Kandinsky.
[Peggy shuts the answering machine off and slowly looks up at Bette. Bette smiles.]
Peggy: Who the hell are you?
Bette: (smiles) I've been trying to tell you I'm... (sets dog down) I'm Bette Porter, and I am the director of the California Arts Center.
[Peggy looks at Bette, drawing a blank. Bette smiles.]
Peggy: California... oh. Oh, yes, that little museum in Bergamot Station.
Bette: (searching) And that will all change, soon. Especially if you, in your... infinite wisdom, decide that the "Provocations" exhibit should go —
Peggy: You're the lesbian!
Bette: Excuse me?
Peggy: The lesbian museum director.
Bette: ... I'm sorry...
Peggy: I was a lesbian in 1974.
[Peggy walks across the room to the couch.]
Bette: Just 1974?
Peggy: Just 1974. (sits) That was all I needed.
Bette: Well, you know, that is what we refer to as a... "has-bian."
[Bette smiles, then looks really a little terrified. After a moment, Peggy chuckles.]
Peggy: (chuckles) A "has-bian." (chuckles, then laughs hard)
Peggy: That's hilarious! I must tell Joanne that one.
[Peggy scoots over and pats the seat of the couch for Bette to sit down. Bette does.]
Peggy: Are you hungry? I'm just famished! Why don't you order us something...
[Peggy rustles through some stuff on the coffee table and produces a menu.]
Peggy: ... from the menu here. (hands to Bette) Thank you.
[Peggy gets up and goes into another room. Bette knits her brow at her as she pages through the menu.]
INT. - ALICE'S APARTMENT - NIGHT
[Alice is sitting at her desk in the livingroom when a knock comes at the door. She goes to answer it. It's Gabby. Alice opens the door to let her in.]
Gabby: Hey, stranger! (hands Alice flowers) You ran out the other night.
Alice: Yeah, well, uh, twelve's a crowd.
[Alice follows Gabby into the apartment. Gabby takes off her jacket as she walks.]
Gabby: I know, and I'm so sorry, I mean, it was just that I missed Clarissa's birthday the other night, and then Nadia called, and then before I knew it, it was like a whole, big, you know —
Alice: I know about you and Nadia.
Gabby: There's nothing to know.
Alice: Half of Hollywood saw you guys making out.
Gabby: (huffs) That was nothing. Alice, it meant nothing to me.
Alice: Ok, here's you (holds up left hand) and here's the lies you're telling me (wiggles fingers on right hand).
Gabby: Okay. I won't see her anymore. Swear.
Alice: (a beat) It's just, I —
Gabby: You and me are really good together. We're both writers, we're on an intellectual par... I can't have the same kind of conversations with Nadia that I have with you.
[Alice closes her eyes then sets the flowers down on her desk.]
Alice: Gabby... (looks up) I've really enjoyed the time we've spent together. But, it's obvious you and I are on two different levels, and we really want two different things out of a relationship. I respect myself too much to let you treat me like this.
Gabby: Are you serious?
Alice: And it's pretty clear you're, like, some sort of an emotional cripple...
[Gabby folds her arms. She looks uncomfortable. As Alice continues to talk, she looks down, unsure of herself.]
Alice: ... without the capacity to understand true love, and... I, uh... I — I'm not gonna let you... waste my valuable time, and, uh... (looks up) step off, bitch.
Gabby: (irritated) Emotional cripple, where'd you get that? "Dr. Phil"?
Alice: Why don't you get out of my house.
Gabby: (tossing hands up) What ev'! (gets jacket) Suit yourself. But I think you should know, Alice, this is not a good move for someone like you. Everyone knows you're desperate. You're not gonna bounce back from this.
[Gabby walks down the hall, to the door, and leaves. Alice sighs heavily.]
[Alice sits down at her laptop at the desk. She double clicks an icon on the desktop and the now infamous lesbian love connection chart opens. Her name is centered on the screen; to the right is Gabby's name, and above Gabby is Nadia. Alice rubs her neck. She clicks the mouse and a line shoots off from Gabby's name, toward the edge of the screen.]
INT. - THE GARAGE - NIGHT
[The door is open. Jenny is sleeping at her desk. Tina comes in, and lightly knocks on the door. Jenny suddenly sits up; she's wearing some huge, thick, funky-looking reading glasses.]
Jenny: Oh, hey!
Jenny: Hey. (takes off glasses)
Tina: I just wanted to see how you were doing.
Jenny: (standing) Good, good, good.
Tina: Are you working? I don't want to bother you if you're working.
Jenny: No, no. I haven't really, uh... I haven't been able to focus. But I'm — I'm doing good.
Tina: No more dizziness?
Jenny: (shakes head) Mm-mm, no. I don't know what happened, I was just sort of... standing there, watching Tim, and...
[Tina seems very caring and concerned.]
Tina: Um. Y'know, Jenny, I know it's none of my business, but, I wanted to tell you that if you want to talk to someone... about anything... you can talk to me if you want to. I know, um... how... intense this can... be. Keeping it pent-up can make it worse. It's no wonder you passed out.
Jenny: I don't know what you're talking about.
Tina: (a beat) (nods) Okay. Sorry.
[Tina turns and begins to walk away.]
Jenny: Um... hey. Did uh...
[Tina stops and turns around. She slowly walks back to the door.]
Jenny: Did... did Marina say something to you?
Tina: No. She didn't. (two beats) Look, I know it doesn't seem this way, but this can be a small town. Sometimes it's...
Jenny: (nodding) Okay. Because, you know, whatever you heard, it's just (smiles)... it's a lie, you know. It's just a rumor.
Tina: (a beat) (chuckles) The lesbian community... can just be a hotbed of rumor and innuendo.
[Jenny looks down.]
Tina: I mean, you could look at someone and 25 people would know about it within an hour.
Jenny: (mouths "Okay")
Tina: If Marina... confided in someone, I'm sure it was just... as simple as saying she was attracted to you, and...
[Jenny squirms and sighs, shaking her head.]
Jenny: (whispering) I just can't believe she did that, you know...
Tina: I... I didn't say she did. I...
Jenny: (hands up) Thank you.
Tina: ... just saying... word travels.
Jenny: (nods) Thank you very much.
[Jenny walks out of the garage, into the house, and closes the door, leaving Tina behind.]
INT. - LOS ALAMENDROS RESORT - PENTHOUSE SUITE - NIGHT
[Emptied dinner plates are on the coffee table, and Peggy and Bette are having a drink (a tiny bit tipsy), curled up on opposite ends of the couch, talking about art. Soft piano music plays in the background.]
Peggy: Photography is my new passion. I bought a Salvador Dali etching this week, and a Duchamp. But my favorite purchase, by far, is my new Carla Marie Freed.
Bette: Oh, god, she was brilliant. She was completely brilliant.
[Bette leans forward and sets her drink on the coffee table.]
Peggy: Poor, wretched addict.
[Peggy reflects in silence. Bette sighs.]
Peggy: What is your favorite Carla Marie Freed photograph?
Bette: That's, just, that's (laughs) so difficult, I ... (shakes head, smiling)
Peggy: Oh, please, don't be such a pussy! Favorite Carla Marie Freed photograph, post haste!
[As Bette thinks, Peggy raises her brows, waiting.]
Bette: I — I would ha — I would have to say, it — it's "The Last Time I and You?" (smiles)
[Peggy closes her eyes and smiles.]
Bette: I've never seen the original. I mean, she destroyed all of her negs, you know. Even the reproductions are just... (sighs) I mean, she photographed the same woman for 12 years.
[Peggy raises her brows and nods.]
Bette: Can you imagine that? I mean, you — can you imagine that act of... looking. Looking, and seeing, and then re-seeing. Just to try to get to the truth of someone. Y'know, I mean, there is incredible mystery, and — and passion in that work. You know? (sighs) (smiles)
Peggy: (smiles) I met her, just before she died. Yeah, it was in some... bistro in New York. She was high as a kite. And, you know, I was introduced to her, and she told me to go f*ck myself.
[Bette and Peggy laugh.]
Peggy: I totally loved her.
Bette: (smiling) Oh, that's funny.
Peggy: Just loved her. (whispering) Loved her.
[Bette smiles. Peggy thinks for a moment.]
Peggy: C'mere. Follow me.
[Peggy gets up and goes to the back of the room. Bette follows, smiling.]
Peggy: Close your eyes.
[Bette closes her eyes. Peggy carries over an almost-life-sized, framed photograph that's wrapped in brown paper.]