PART 11
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EXT. IKES CAR - TRY ROAD - NIGHTIke and Maggie stare forward. Both seem in melanoods.
Theyre beginning to seheyre in trouble here. Suddenly,
the car falters and jerks. It shows to a stop on the shoulder of
the road. The car backfires and smokes.
EXT. IKES CAR - TRY ROAD - NIGHT
Ike and Maggie sit ieaming car for a moment.
MAGGIE
Your filters clogged. This takes
unleaded.
IKE
you fix it?
MAGGIE
First I have to find some tools. I
need a half and a nine-six-tenth.
IKE
(removing his glasses)
Of what?
MAGGIE
(in amazement)
Wrenches. My dads gonna love that one.
Maggie slams the food closed.
IKE
Kind of isolated.
MAGGIE
Yeah. Its kind of nice.
An unfortable silent pause. Ike breaks the moment.
IKE
Theres ohing we New Yorkers know
how to do is hail a cab. If theres no
cab, we walk.
Ike stares off down the road. Maggie indicates a building in
the distahen turns off the car lights.
MAGGIE
I get some tools over there.... and
save the battery... Theres ohing
we try girls know how to do is cut
across a field. Its quicker.
Maggie points diagonally across the field to where a gas station
sign glows and the lights from the outer house twinkle.
He smiles and follows her into the field.
MAGGIE (td)
Be careful of snakes.
IKE
Snakes? Are you serious? I dont like
snakes. Ive never even seen a snake.
He steps carefully into the field, then hops gingerly toward Maggie.
MOMENTS LATER
Maggie leads Ike through a field.
MAGGIE
Do you think theres only ht
person for everybody?
Ike chooses his words carefully.
IKE
No. But I think attra is too
often mistaken fhtness.
Attra is very misleading. And if
its mutual, its well, terribly
distrag.
MAGGIE
Yes it is. And it doesnt mean
anything.
Ike nods as they e to a wooden fence. She puts her hand on
his shoulder. Ike puts his hands around her waits to give her a
boost over the top. We see the flicker of misuanding cross
Maggies face at the initial taeither of them moves --
forward or back, but the electricity is obvious.
ANGLE ON: Ike. His flicted feelings are apparent. With
difficulty, Maggie straightens up and they both quickly remove
their hands.
MAGGIE (td)
(lightly)
I suddenly fot how to climb a fence.
They look at each other for a moment, then:
MAGGIE AND IKE
(breaking the
mom藏书网ent jokingly)
"Tools".
She climbs over the fen her own and Ike follows. They see
an old<bdi>藏书网</bdi> guy, LIONEL, whittling on a porch.
MAGGIE (td)
Lionel, I borrow some tools?
IKE
Yeah, we need a half and nine-
sixteenths.
LIONEL
Gonna bust out of another wedding?
IKE
Youre sure well known around here.
EXT. FISHER AND ELLIES BUILDING - THE DAY
Establishing shot.
INT. FISHER AND ELLIES KIT (NYC) - DAY
INT. IKES HOTEL ROOM - DAY
I BETWEEN TWO LOCATIONS:
Ike sits on his bed, on the phone, w aing his
breakfast. Hes watg Maggies wedding tape again. Fisher
is cooking an elaborate breakfast. Ellie rushes arouing
ready for work. He is on the phoo Ike.
FISHER
(into phone)
Yes, well, my theory was that she may
be running because she gets attention...
ive attention is attention.
Like when women whack you oreet
because of your n, thats ive
attention.
IKE (V.O.)
This is about her ive attention,
not mine. Did you get the
reimbursement for the dress yet?
FISHER
(into phone)
No, Im paying for the dress. Do you
think shes still gonna run?
IKE (V.O.)
I dont know.
Ellie ehe kit, hears the question and shakes her head
to herself. If only these boys would give it up.
INT. IKES HOTEL ROOM - TINUOUS
He is finding it very hard to gloat. Fisher is annoying him.
IKE
(into phone)
Look -- Ill be in there later today.
Ill e by and tell you all about it.
FISHER (V.O.)
Youre ing here?
IKE
(into phone)
Yeah.
FISHER (V.O.)
Then e for dinner.
IKE
(into phone)
Okay, well order out.
FISHER (V.O.)
Order out like a Philistine, when you
got the Galloping Gourmet here?...
Ike hangs up and watches more of the Gee Swilling wedding
video.
INT. NEW YORK BAR - DAY
The bar from the opening se. GEE SWILLING, the same man
Ike talked to before, is sitting on a stool, nursing his drink.
He looks better. Ike enters. Gee looks up and reizes
Ike, who takes the bar stool o him.
IKE
Get this man a Kamikaze.
GEE
Splendid disse of Maggie Carpenter,
very professional job.
Ike sits and leans over to Gee.
IKE
(whispers)
You could have told me you were<s>?</s> fiance
hree.
GEE
And end up in the papers? Ive been
humiliated enough already to last a
lifetime, thank you. Im sorry she got
you ed.
IKE
Thanks.
GEE
Shes a cacophony of tradis.
IKE
Well, Im writing another article on
the cacophony.
GEE
Ah, t stay away from her, <var>99liｂ?</var>you?
Like a moth to a flame.
IKE
Guess youd know about that. Youre an
entomologist, right? Hows business?
GEE
(taking a sip
of his drink)
Not bad. I was traveling around
studying the reproductive and migratory
patterns of locusts when Maggie met me.
IKE
(sarcastic)
er a locust, feed the world.
GE
Not the world. Just Afrid a.
Ike wipes the smirk off his face. Like Maggies other men, this
guy has a worthy aplishment under his belt.
GEE (td)
You know Maggie was the only girl I
ever met who would hold my tarantula.
On the first date.
IKE (td)
So, tell me, Gee, why do you think
she ran?
GEE
Same as you said. What did you call
her? A "maer", "a dev death
goddess."
IKE
I dont think thats why she ran.
GEE
Why do YOU think she ran?
Ike sips his drink before answering.
IKE
I dont know. Im w on it. I
was on the wrong track.
GEE
And you defending her?
IKE
No. I call it like I see it. Im a
journalist. Im a truth teller.
GEE
Unbelievable, she got to you.
IKE
Oh, please!
GE
Join the club.
(passing him
his drink)
Here, you his more than me.
Gee heads out.
IKE
(proteg, taking
his tape recorder
out of his pocket)
Im writing an article, Im getting
paid to do this, its going to be a
cover story, its going to be published
... The facts will be read someday.
As Gee pauses in the doorway, Ike holds up his tape recorder.
IKE (td)
What kind of eggs did she like?
GEE
Poached, just like me.
Gee exits.
CUT TO:
EXT. NEW YORK STREET/FISHER AND ELLIES BUILDING - DAY
Ike walks down a street toward Ellie and Fisher.
CUT TO:
INT. FISHER AND ELLIES APARTMENT (NYC) - NIGHT
Ellie is on the phone as Fisher enters with beer. Ike sits at
the piano.
FISHER
(sarcastically)
Overpriice apartment and ese
takeout. Thats New York living.
ELLIE
(into phone)
... Just call me when you have it.
(hangs up, then to Fisher)
Ike, how is the story ing? Is she a
maer?
FISHER
Or a vegetarian?
ELLIE
Or does she pick "NGBS" -- "Nice Guys,
But..." Nice guys, but Im cheap.
Nice guys, but he lives with his mom...
Nice guys, but he just out of prison.
IKE
No... Theyre iing guys. Each
one of these guys has something going
for him. I mean, ones been up Everest.
Anothers bee a priest. Ones a
pretty good guitar player. And this
guy today tried to end world hunger, if
you believe that...
FISHER
Whoa, Ike. Getting a plex, buddy?
ELLIE
Fisher, let him talk.
IKE
(sits)
But one of those guys -- not one of
them -- knew her at all. Eae was
vihat she erfect for them,
but they didnt see her. And she never
showed up so they couldnt see her.
Its a very symbolic thing happening.
She bees what she thinks they wanted
to be.
Fisher doesnt like the sound of this. He glances <bdo>９9ｌib?</bdo>at Ellie, who
is looking very ied.
FISHER
(in shock)
Ike is turniive and I t
bear to watch. Im going to make a
fresh pot of tea.
The phs as Fisher exits. Ike goes to the piano as Ellie
picks up the phone.
ELLIE
(into phone)
Yeah... Oh, Jay... Okay... Bye.
(hangs up, then yells to Fisher)
Fisher, dont fet the fortune
cookies.
She joins Ike at the piano. Ike gets serious.
IKE
Is that what I did to you? Is that
what happened? Did I just not see
you?
ELLIE
No. No, you didnt.
He hugs her.
IKE
(heartfelt)
Well -- Im sorry, Im really sorry,
Ellie.
ELLIE
Im sorry, too.
(beat)
Wow. That only took us between years
to say.
Ellie blinks back seal tears.
CUT TO
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