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#308 : Arrangements

Titre en VO: "The tipping point" - Titre en VF : Arrangements
¤USA : diffusé le 15/11/04 - France: inédit
¤Scénario : David Hudgins et Michael Green - Réalisation : Jordan Levin
¤Guest-stars : Scott Wolf (Jake Hartman), James Earl Jones (Will Cleveland), Anne Heche (Amanda Hayes), Jason Beghe (John Hayes)

Essayant de trouver une musique pour son audition à Julliard, Ephram demande conseil à son professeur de musique et mentor Will Cleveland, mais finalement il perdra l'une des relations les plus importantes de sa vie après avoir blessé Will.

Pendant ce temps, Andy et Amanda, voient un avancée miraculeuse dans la thérapie par la musique qui doit guérir le mari d'Amanda. Mais Andy se demande vite si ils ne se réjouissent pas trop tôt.

Bright continue sur sa pathétique lancée en se faisant virer de son job, après avoir été surpris dans une position très génante avec une serveuse du restaurant.

Titre VO
The tipping point

Titre VF


Bande annonce 308 (VO)

Bande annonce 308 (VO)


Plus de détails

Au restaurant, Bright se fait virer de son travail après que son patron l'ait surpris dans le débarras à moitié nu en compagnie d'une serveuse. Bright ment à ses parents en leur annonçant sa démission et ceux ci sont fiers qu'il s'ouvre à nouveau à des perspectives d'avenir plus glorieuses. Mais Harrold rentre dans une colère noire quand il apprend que son fils a été viré et surtout dans quelles circonstances.

Ephram se prépare pour une audition pour Julliard et pour l'occasion, Will lui a composé un morceau. Mais Ephram n'est pas complètement satisfait de la mélodie et sur les conseils d'Amy il décide de modifier certains passages ce qui vexe le vieux musicien au point qu'il rompt sa collaboration avec Ephram

Andy continue d'aider Amanda sur la thérapie musicale même si celle ci ne semble pas porter ses fruits. Lors d'une ballade dans la forêt de la ville, Andy et Amanda se confient l'un à l'autre notamment sur le sujet de l'amour et Amanda croit assister à un miracle lorsqu'elle voit des larmes couler sur les joues de son mari et elle décide d'organiser une fête pour célébrer l'évènement. Andy doit malheureusement tempérer cette excitation car les larmes peuvent être dues au froid et au vent mais Amanda lui dit qu'elle fait avant cette fête pour que son fils ainsi que ses amis gardent espoir.

Rose aide Bright à décrocher un travail dans un bureau . La colère d'Harrold ne désemplit pas pour autant et il reproche à sa femme d'aider leur fils alors que celui ci leur ment et ne fait pas d'effort.

Will vient voir Ephram chez lui afin de lui donner une dernière leçon de piano avant de lui donner l'adresse d'un autre professeur de piano qui pourra lui être plus utile que lui.


[Fade in – Scene from “The Birds and the Batteries” Act One – Bright comes in the kitchen where Rose and Dr. Abbott are preparing dinner.]

IRV (VOICE-OVER): Previously on Everwood…

BRIGHT: Ladies and gentlemen, you are looking at the latest employee of the month.

ROSE: Oh, honey, that’s wonderful.

DR. ABBOTT: Yes, swell, awesome indeed.

[Cut to Scene from “The Birds and the Batteries” Act Three – Bright is yelling at Dr. Abbott at his bedroom door.]

BRIGHT: What the hell is wrong with you, man? I mean, don’t you think that if I had any clue at all I would be on a plane right this moment headed as far away from this house as humanly possible. Dad, I wish I knew…because until then I am stuck here – with you.

[Bright slams his bedroom door on Dr. Abbott standing in the hallway.]

[Cut to Scene from “Shoot the Moon” – Dr. Brown is talking to Amanda in his office.]

DR. BROWN: Has anyone ever mentioned music therapy to you before?

AMANDA: I don’t think so.

DR. BROWN: If you’re willing, I would actually like to give that a shot.

AMANDA: Why do I get the feeling that you’re gonna keep asking me until I say yes?

DR. BROWN: Because you’re getting to know me.


[Cut to Restaurant – Bright is prepping the restaurant to open.]

BRIGHT (rapping): No spill. Bright Abbott’s the best employee of the Firehouse Grill. I am still. It’s a done deal.

SERENA: Shakin’ it with the shakers?

BRIGHT: You know it. Don’t start getting sweet with me, I know you’re out for blood.

SERENA: How’s that?

[Serena walks over to Bright.]

BRIGHT: Beating me in tips. Y’know I had the record until yesterday.

SERENA: That doesn’t count. Some guy left me a 20 on a coffee and a poundcake.

BRIGHT: You’re still top dog and I bow to you.

[Bright bows and Serena smiles and laughs.]

BRIGHT (CONT’D): Although, really though, it’s not fair. Y’know, I mean, you just flash those dimples at somebody, they’ll leave you their whole wallet.

SERENA: Shut up.

BRIGHT: I’m serious. Actually, I bet that probably gets old huh?


BRIGHT: Constantly getting hit on.

SERENA: I don’t get hit on . . .

BRIGHT: Oh, come on. You don’t have these late night dumb drunks coming in here trying to leave you their number.

SERENA: I’m only on on lunch, that’s why I barely ever get to see you.

BRIGHT: That’s too bad.

SERENA: Oh, well, maybe we can hang out during our break sometime.

BRIGHT: So when’s your next break?

SERENA: Well, actually, I’m on break now.

[They stare at one another.]

[Cut to Mikey walking past the supply closet where he hears giggles coming from it and stops. He turns around sees an apron on the floor and walks toward the supply closet and opens it. Inside, Bright has his shirt off and Serena is in her bra.]

BRIGHT: Uh, hey…


BRIGHT: Mikey, uh, just uh, looking for napkins. There they are.

[Bright picks up a package of napkins.]

BRIGHT: Here you go.

[Bright hand Mikey the napkins. Bright is laughing and Mikey looks ticked.]



[Fade in – Dr. Brown’s office. Dr. Brown is giving John Hayes a blood pressure check and Amanda Hayes is watching.]

DR. BROWN: So, uh, how’s Dr. Bell working out?

AMANDA: She’s been coming by twice a day. We’ve been playing this game where loud music means happy, soft music means sad. She calls it emotional queuing.

DR. BROWN: Is it working?

AMANDA: Oh, I think so. Yeah, he can, uh, tap his fingers to a beat now almost by himself.

DR. BROWN: Rhythm theory for motor control. That’s good.

AMANDA: Yeah, except she uses disco. If I have to hear “Get on the Love Train” one more time I’m gonna have to kill myself or her. Someone’s gotta go.

DR. BROWN: Well, I can try and find another therapist.

AMANDA: Oh, no. She’s been great. Like the other day, she played the “Hello” song when I walked into the room and I was sure he recognized me and I swear he moved his eyes.

DR. BROWN: Y’know, uh, this is not gonna work unless you’re completely honest with me. Okay?

[Dr. Brown gets up and walks over to a book shelf.]

DR. BROWN (CONT’D): Music theory takes time and patience, but if you think it’s not working just tell me. I’m a big boy, I can handle it.

[Amanda follows Dr. Brown and brushes John on his shoulder as she walks past the wheelchair.]

AMANDA: It’s not that. It’s not like I was expecting him to get up and do “Fiddler on the Roof”. I don’t know, I guess I just wish there was more that we could do.

DR. BROWN: Well, maybe there is. I called a friend of mine the other night. She keeps up with all the research on alternative medicine.

AMANDA: Oh, we’ve been down that road, Andy. Sorry to say, his chi is still blocked.

[Dr. Brown makes a huge sigh.]

AMANDA (CONT’D): Sorry. Patience. Go ahead.

DR. BROWN: Well, anyway, Linda agreed that, uh, music therapy works very well for memory retrieval, but apparently the association between the two are very very strong.

AMANDA: Isn’t that what we’ve been doing?

DR. BROWN: Well, partly. But, uh, this is more focused. There’s a new class of drugs - Acetyl cholinesterase inhibitors. They work on the enzymes that destroy the nerve transmissions in patients with cerebral infarcts.

AMANDA: I like that word. So let’s do this. Pretend I’m not a neurosurgeon.

[They laugh.]

DR. BROWN: Okay. Think of the brain as a library. And all of John’s memories are books. Now the stroke didn’t destroy those books, just the card file that tells him where to find them.

AMANDA: I love it when you do that. Break it all down in cute little examples.

DR. BROWN: Yeah, well, you should the one on incontinence.

[They share another laugh.]

AMANDA: So what would I have to do?

DR. BROWN: Well, everybody has a favorite song, right? What I want you to do is pick just one – something very meaningful fort he two of you. Something that’s associated with a significant event. We’ll put him on the drug, we’ll play the music in the appropriate setting and see what happens. Maybe it’ll be a way in.

AMANDA: He does love music.

DR. BROWN: I know. I saw him do the karaoke remember?

AMANDA: We danced to Spandau Ballet at our wedding. That was memorable.

DR. BROWN: Yeah, that says a lot about you. Come on, I’ll have Louise make a phone call.

[Cut to Amanda pushing John in his wheelchair out of Dr. Brown’s office.]

DR. BROWN: Louise, did that drug sample come in?

LOUISE: Oh, yeah, it’s right here.

DR. BROWN: That’s okay, I got it.

[Dr. Brown grabs the box off Louise’s desk.]

DR. BROWN (CONT’D): Okay, you start once a day at bedtime starting tonight.

AMANDA: Thanks. I think this might actually be kind of fun.

[Amanda starts to push John. Dr. Abbott is sitting in a chair in front of Louise’s desk.]

AMANDA (CONT’D): Morning, Harold.

DR. ABBOTT: Good morning.

AMANDA: Oh, I like that tie. Thanks, Louise.

[Amanda and John leave and Louise helps them through the doors.]

DR. ABBOTT: Things appear to be going well.

DR. BROWN: It’s called hope. Works better than Prozac.

DR. ABBOTT: What is her hope based on? John’s condition appears unchanged.

DR. BROWN: Well, it’s based on the chance that things could change. I’m just taking them to a new level. That’s what we, surgeons, do. Come in for the consult after the hard work’s done – steal all the glory.

DR. ABBOTT: This isn’t a surgical case.

DR. BROWN: No. It’s feels like one.

DR. ABBOTT: As your partner, I’m merely suggesting a little caution maybe in order. Hope can be a dangerous thing. Especially when it comes to stroke patients.

DR. BROWN: I think hope is the one thing we shouldn’t be cautious about right now, Harold. We should be practicing it like medicine. And you know what, she’s right, that is a nice tie.

[Dr. Brown smiles and walks back into his office leaving Dr. Abbott to be concerned.]

[Cut to Will Cleveland’s house – Will Cleveland is playing the piano and Ephram is watching and listening to him.]

EPHRAM: That’s amazing. I-I can’t believe I never heard it before.

WILL: Well, you got a long way to go before that means much. What was your placet?

EPHRAM: The Roots and Brahms. Bass rhythm and Mill Evans.

WILL: You didn’t pick out a bit of Joplin?

EPHRAM: Oh, yeah, definitely in the bridge, but way way way better.

WILL: What’s that mumble? I can’t see what stupid thing you’re saying when you mumble?

EPHRAM: I-I said it-it’s way better. Whose is it?

WILL: Whose? Yours.


WILL: Still not too quick, huh? No, was mine, now it’s yours. I wrote it for your audition tape. And I guarantee ya you’ll be the only kid trying to get in with this bit.

EPHRAM: I-I thought you hadn’t written music in 20 years.

WILL: No. I haven’t had anybody see it. Music’s been good to me for a long time. I don’t want to mess up what she and I had, but this one is yours if you want it.

[Will gets up and hands Ephram the sheet music.]

EPHRAM: Are you serious?

WILL: It’s my contribution to your application. No one can blame me if you blow it. I did my part.

EPHRAM: This is perfect. I-I can show off everything we’ve been working on.

WILL: If you do it right.

EPHRAM: What’s it called?

WILL: Bella Rae.

EPHRAM: Oh, yeah. Who’s she?

WILL (laughing): None of your damn business. Ready to play it out? Let’s go, genius.

[Ephram walks to the piano to start playing and Will sits down to watch him.]

[Cut to Abbott kitchen – Dr. Abbott and Rose are getting ready to leave and Bright walks in quietly.]

BRIGHT: Hey. What’s for dinner?

DR. ABBOTT: Claimjumper’s Prime Rib with Madiera sauce. Your mother and I are dining out for a change.

ROSE: I’m sorry, honey, I didn’t know you’d be here. Aren’t you suppose to be at work?

BRIGHT: Uh, nah, I quit.

DR. ABBOTT: What? When did this happen?

BRIGHT: Since, uh, last night. No big deal though. Mikey gave me the bad section again, y’know, uh… I was just over it. Gave him my apron. Came home.

DR. ABBOTT: I thought you liked that job.

BRIGHT: Not really.

ROSE: But you were Employee of the Month?

BRIGHT: Yeah, but that was like a month ago, Ma.

ROSE: What are you gonna do now? Have you thought about that?

BRIGHT: I don’t know. Find a real job, I guess. I mean you guys-you guys were always saying, y’know, I need to find that avenue for my future. I-I really think it’s time to, uh, y’know, move on, get serious about what I want to do with my life.


ROSE: Well, uh, they hired a new director in Parks and Recreation today to run the fall programs. I could get Megan to pull the county job list for tomorrow.

DR. ABBOTT: I can make a few phone calls. See if there’s any goodwill left with the Finance Committee of the Lodge.

BRIGHT: Yeah, th-that all sounds very cool.

DR. ABBOTT: Who is it that mentioned the internship at the Hubbles the other night? Was that Phil?

ROSE: Oh, no, June Simpson.

DR. ABBOTT: Right. Right that sounded promising.

ROSE: Oh, he’d be perfect for that.

DR. ABBOTT: Well, this is certainly auspicious. You know what, Bright, you should come out to dinner with us tonight. Discuss our options. Formulate a plan of attack.

BRIGHT: No, I-I got take a shower. So it’ll take me awhile. I’m sure you guys are probably already starving.

DR. ABBOTT: Y’sure? You know how you love that shrimp cocktail.

BRIGHT: No. You guys go. Have a little alone time. I’ll make due.

ROSE: Well, we’re very proud of you.

[Rose walks over to Bright and hugs him on the cheek.]

DR. ABBOTT: Not for quitting.

BRIGHT: Yeah, I know what you mean.

DR. ABBOTT: But for realizing that potential in yourself that we have always known was there. The way you’ve handled this says a lot about yourself.

[Dr. Abbott pats Bright on the arm in acknowledgement of pride.]

BRIGHT: Thanks, Dad.

DR. ABBOTT: Shall we?

ROSE: Yes.

[Dr. Abbott and Rose leave and Bright walks out of the kitchen upset for having lied to his parents.]



[Fade in – Ephram’s studio – Ephram is playing the piano and becomes frustrated and Amy is laying on the couch reading.]

EPHRAM: This is bad.

[Ephram notices Amy doesn’t respond so he looks at her and Amy looks up from her book.]

AMY: I’m sorry I thought I was supposed to ignore you when you make frustrated noises.

EPHRAM: I think I made a mistake.

AMY: God forbid. Where’s my paddle?

EPHRAM: I mean, it’s just this piece. It’s… I don’t know… it’s-it’s wrong.

[Ephram snatches it up and looks at it.]

AMY: Will’s piece? I thought you said it was great.

[Amy sits up on the couch and puts down her book.]

EPHRAM: It is. It was. I’ve had some time with it now and-and parts of it are-are genius – beyond genius, but then other parts of it are just…

AMY: Bad.

EPHRAM: I don’t know. I mean, the intro is tired and loungy. It’s great the way he revoices the chord structure here but the account afterward is a mess.

AMY: I didn’t really get any of that, but it was kind of hot.

EPHRAM: Everybody else is gonna be playing Bartok, Chopin and Schubert, those guys don’t actually have weak spots, this does.

AMY: Then you can’t use it for your tape.

EPHRAM: I already told Will I would.

AMY: Look, what I know about jazz consists of entirely of what you try to tell me before my eyes start rolling back or start to fall asleep. Most of it sounds like a lot of mistakes to me, but you’ve been training for this all year. It’s too important to risk something you’re not sure of.

[Amy sits next to Ephram by the piano.]

EPHRAM: It was a big deal for him to even show it to me. Maybe…if I switch progression here and I come back to the tonic like…

AMY: See eyes rolling.

EPHRAM: Uh, just listen. Just listen. Do you think he’d mind if I fudged with it a little bit? I mean most of it is so good, it-it wouldn’t take very much to just make sort of the soft spots work.

AMY: Are you kidding me? It’d be like your collaborating with him. Old guys love that stuff. Master - student, coming of age - becoming his equal. My dad cries every time I beat him at tennis.

EPHRAM: Really?

AMY: No. But how flattered is he, seriously, that you’re even using his piece to get into Juilliard?

[Ephram looks back at the sheet music to start rearranging.]

AMY (CONT’D): You’re going to start working on this right now aren’t you? Ah well, you’re useless to me when you’re thinking piano anyways. Work hard, genius.

[Amy kisses Ephram on the head and leaves letting Ephram get to work.]

[Cut to a park – Dr. Brown is pushing John in his wheelchair and Amanda is walking alongside them.]

DR. BROWN: It’s snowing?


DR. BROWN: And it’s cold.

AMANDA: Uh, huh.

DR. BROWN: I can’t feel my toes anymore.

AMANDA: Oh, come on. You live in the mountains. Embrace it. Besides it’s beautiful, isn’t it?

DR. BROWN: You know I’ve never been here.

AMANDA: Really?

DR. BROWN: Nah. Nature and I never took. I was 10 before I realized a baseball diamond was supposed to be built on asphalt.

AMANDA: We used to come here all of the time. It was John’s favorite place. There’s this great camp ground. I think the trail is up there somewhere.

DR. BROWN: Y’know I took Delia camping once. We ended up at the Howard Johnson’s. Not much of a view, but the food was better.

AMANDA (laughing): I don’t know if what you’d call what we did was camping. It was more like a frat party in the woods. We’d get all of our friends. Roll in the coolers. Make a huge fire.

DR. BROWN: Very nice.

AMANDA: Howl at the moon all night until someone had enough tequila to jump into the creek. God that water was so freezing. Especially when you were naked.

[Cut to Dr. Brown wheeling John onto a bridge with Amanda still walking beside them.]

DR. BROWN: So we’re getting close?

AMANDA: It’s right up here.

[They stop and look out over the bridge.]

DR. BROWN: This is really beautiful.

[Amanda nods in agreement and begins to cry.]

DR. BROWN (CONT’D): You okay?

AMANDA: I just thought that if there was a place that would spark a memory, this would be it. I didn’t…

DR. BROWN: What?

AMANDA (crying): I thought it wasn’t supposed to be hard for me.

DR. BROWN: Listen, we don’t have to do this. I mean, if this is too much for you, we can just go back.

AMANDA: No. This is good. I need this. This is where he proposed.

[Cut to Will’s house – Ephram walks in to see Will who is at his piano.]

EPHRAM: For the, uh, for the Bach, I was thinking “The Well Tempered Clavier”.

WILL: That’s boring.

EPHRAM: Or the “Contrapunctus”.

WILL: That’s class.

EPHRAM: And then there’s “Bella Rae” by Will Cleveland.

WILL: How’s “Bella” coming?

EPHRAM: Uh, she started out a bit rocky.

WILL: She always did.

EPHRAM: But, uh, But, yeah, in the second movement, I found something, which, uh…

WILL: Whoa. Whoa. Hold it. You’re mumbling again. I thought you said found something?

EPHRAM: Yeah, I was just… I was playing around and…

WILL: HOLD ON!! You played with it. You mean, you made changes.

EPHRAM: Yeah, I mean, I was-I was gonna show ‘em to you before I…

[Ephram hands Will the sheet music.]

WILL: No thank you.

[Will throws the sheet music on the ground. Ephram is shocked.]

EPHRAM: I just fixed up the slower parts.

WILL: Did you? I give you a few arrangement exercises and you’re a composer now. A finished piece isn’t something you play with. It’s music. It’s in stone.

EPHRAM: Look, Will, you’re good, but you’re not Beethoven. Alright, it-it’s just needed a little bit…

WILL: It needed you to sit still and sweat over it. You pick up a piece of music. You don’t say “How can I fix this?” You say “How can I make this shine?” That’s your job as a player. You can’t do that then move the hell over to another profession.

EPHRAM: Oh, great, so I have an opinion and now you want me to quit. That’s fantastic.

[Ephram walks away from Will.]

WILL: I can’t tell what stupid thing you’re saying now.

EPHRAM: Never mind.

WILL: You came to me raw and whimpering after your disastrous summer in New York. You said you wanted to work as hard as you could to catch up and get good enough to make it.

EPHRAM: How can you teach me to play if you can’t even hear me?

WILL: You know the nice thing about going deaf – there’s something I don’t want to hear anymore - all I gotta do is turn my back.

[Will turns and walks away from Ephram.]

[Cut to Abbott kitchen – Dr. Abbot is playing solitaire and Bright and Rose walk in with groceries.]

ROSE: Hello.

BRIGHT: Hey. Say check this out, Mom thinks she might be able to, uh, score me an interview with her boy at work.

ROSE: I ran into Judge Brady at lunch. He said the Mize’s daughter has just gone on, uh, maternity leave over at the Clerks’ office and they might be looking for someone so I called Brooks Randolph and told him about Bright and he was open to the idea.

BRIGHT: Yeah, apparently, they like handle all the trials for the whole county.

ROSE: Oh, it’s just the filing and the paperwork. Now it’s entry level, but, uh, it might spark an interest in pre-law.

DR. ABBOTT: Well, I assume you’ll need a resume. I’m curious what exactly will you be listing for employment history.


DR. ABBOTT: When they call the restaurant to check your references? You think they’ll have good things to say about you?

BRIGHT: Yeah, I think so.

[Dr. Abbott gets up and walks toward the island where Rose and Bright are standing around.]

DR. ABBOTT: Even if they talk to your old boss, Mr. Mikey, is it?

BRIGHT: Uh, huh.

DR. ABBOTT: You had a visitor today. She asked me to give you this?

[Dr. Abbott drops Bright’s last paycheck on the island.]

BRIGHT: She, uh, she who?

DR. ABBOTT: Oh, I didn’t catch her name, but I do recall smacking gum and strong Christian values. (to Rose) Your son didn’t quit, Rose, he was fired.

ROSE: What?

[Bright rolls his head as he knows he is going to get a lecture.]

DR. ABBOTT: Would you like to tell your mother why?

[Bright shrugs his shoulders.]

BRIGHT: I messed up.

DR. ABBOTT: Now indulge me, Bright, that whole story that you told us last night. Did you spend all night making that up or did that come out of you spontaneously because honestly I can’t decide which is worse.

BRIGHT: Listen, I was gonna tell you.

DR. ABBOTT: Oh, don’t you dare. Don’t you dare. I was watching the whole thing. You were fully prepared to let your mother go out on a limb for you without ever telling us the truth or did you really not think that they’d call your former employer.

BRIGHT: Y’know, I wasn’t gonna put them down.

DR. ABBOTT: Oh, well, what were you gonna put down? Lifeguard at the kiddie pool Freshman year. What?

BRIGHT: I don’t know.

DR. ABBOTT: Exactly. You know nothing. You hand us these ridiculous rent checks and you think that makes you an adult. You have no concept of how the real world works.

ROSE: Calm down, Harold. It’s bad enough, he got fired.

DR. ABBOTT: No. No, honey, it is not that he got fired. It’s that he lied about it to us. He looked us straight in the eye and told us that he quit that he was really gonna make something of himself and he blindly accepted our help. What if I hadn’t found out? How would you’ve liked to have gotten that phone call from Brooks Randolph?

BRIGHT: Look, I panicked okay?

[Dr. Abbott gets in Bright’s face about the lie.]

DR. ABBOTT: No. No. Not good enough. You’re gonna have to do better than that this time. Let me tell you something, Bright, the only way to live with honor in this world is to actually be what we pretend to be. You don’t get second chances, can you understand that? Is any of this sinking in yet?

[Dr. Abbott shakes his head and walks out of the kitchen.]

[Cut to the Park – Amanda turns up the music playing by John’s wheelchair. It is a country music song.]

AMANDA: Well, you said it had to be something he’d remember, you didn’t say that it had to be good.

DR. BROWN: This is what was playing when he proposed?

AMANDA: What can I say? The man loved his country music. Three cords and the truth – that’s what he called it.

DR. BROWN: Julia and I used to play Desert Island discs. She always kept Elton John. I remember watching Diana’s funeral with her. Boy did she ever cry.

AMANDA: So how long has it been?

DR. BROWN: About three years. You?

AMANDA: Five years, two months, eleven days. It was Charlie’s first day of kindergarten. It’s a little hard to forget.

[Dr. Brown nods in agreement.]

AMANDA (CONT’): Do you think it’s possible to grieve for someone when they’re not dead?

DR. BROWN: I don’t know. May be.

AMANDA: That’s what it feels like. That day you came to my house when we first met I remember telling you that it would be easier if John was just gone. I felt guilty about it for a week, but the worst part is it’s still true. You never get used to it. Not being able to be with someone – physically. I mean, I can see him. I can talk to him, even touch him, but he can’t kiss me back. It’s like I don’t know what I’m in love with any more.

DR. BROWN: I know. It’s the same for me.

AMANDA: At least you can start over. Like with Linda.

[Dr. Brown looks at her trying to find out where she found that out. Amanda smiles in return.]

AMANDA (CONT’D): I asked around. Come on, you dropped it in. All casual in our conversation like I would miss that.

DR. BROWN: Well, it was complicated. She was the first woman I spent time with after Julia died and she was sick and when I found out it changed things.

AMANDA: That had to be hard. Especially since it couldn’t’ve been too long after what happened with Colin.

DR. BROWN: How much asking around did you do?

AMANDA: Oh, no. It’s just… We know the Harts. John and I used to go to their store all the time to buy his survey maps. That memorial service, I was there. I saw what it did to you. It’s about the saddest thing I’ve ever seen. And believe me, I’m a connoisseur in that department.

[Dr. Brown looks down and doesn’t answer.]

AMANDA (CONT’D): Anyway…I bet it was nice not to be lonely. Even if just for awhile.

DR. BROWN: Yes, it was.

[They just stare deeply at each other.]

DR. BROWN (CONT’D): So…where did you grow up? Harold says, uh, you’ve got a brother living in Chicago.

[Amanda looks at John and notices he is crying.]

AMANDA: Oh my God, Andy.

[Amanda rushes over to John.]

AMANDA (CONT’D): Can you see that? Oh my God. Andy, he’s crying. (to John) I’m right here.

[Amanda kisses John on the lips. Dr. Brown looks shocked by the results.]



[Fade in – Ephram’s bedroom – Ephram is standing by his desk and Amy is sitting on Ephram’s bed.]

AMY: This is all my fault.

EPHRAM: It’s not your fault.

AMY: I have no idea what I’m talking about when it comes to pianists. I mean, apparently, I thought I did, but I don’t. I thought it was going to be this whole romantic man-love thing. Teacher-student; mentor-mentee, whatever.

EPHRAM: It’s okay, don’t worry about it.

AMY: You can still find another teacher though, right? Maybe. They might even be as good as Will. Maybe not as good.

[Amy slides down to sit on the floor against Ephram’s bed.]

EPHRAM: I could. It’s not about that. I liked playing with him.

AMY: Really? Is it the constant barrage of insults?

EPHRAM: No, that actually I can do without. It’s like he-he exists in this place in his head where there’s music and nothing else. He talks about music like it’s this girl he’s been trying seduce his entire life, but it’s not a metaphor to him, it’s real. I mean, he actually talks to her.

AMY: Yeah, that’s weird.

EPHRAM: Uh, it’s beyond weird. It’s insane. That’s why he didn’t care when he lost his hearing.

[Ephram sits down beside Amy on the floor. Amy puts her head on his shoulder.]

EPHRAM (CONT’D): As long as he could still talk to her in his head, it was like he could still see it.

AMY: Like Beethoven.

EPHRAM: He… He doesn’t care about performing. He doesn’t care about school. He doesn’t even care about showing people what he’s doing. It’s like those monks who do those sand paintings and then open the door for the wind. Music is like this pure thing that exists for its own sake. Just to make something perfect for no reason other than to show the world can hold. (pause) I used to feel that way about music. But now…

[Ephram lays his head down in Amy’s lap and Amy plays with his hair.]

EPHRAM (CONT’D): And now, now… Now it’s just …

AMY: Like a job.

EPHRAM: Yeah. Y’know when I play with him, it’s the only time it’s not about a career or school. I don’t have to worry about the future or yesterday. It’s just now. Now and the piano. When I play with Will, it’s the only time I can remember why I’m doing any of this. Now I don’t even have that.

[Cut to a bar – Dr. Hartman walks in and sits next to Dr. Brown at the bar.]

DR. HARTMAN: I pegged you as a scotch man.

DR. BROWN: Well. Well. Well. Dr. Jake, hope you brought your fake ID.


DR. BROWN: Can I, uh, buy you a drink?

DR. HARTMAN: You don’t have to do that.

DR. BROWN: Nah, it’s about time. So what are you L.A. guys into these days? Is it like citrus vodka, cosmos?

BARTENDER: Here you go, Dr. Jake. (to Dr. Brown) You ready for another one, it’s on the house. Everybody’s talking about what you did.

DR. BROWN: Hmmm. Why not?

DR. HARTMAN: That’s right. Congratulations. Genius doctor rise again. Miracles available, inquire within.

DR. BROWN: Yeah, you may not know it yet, but you will. This town would call cheese a miracle if they thought it would solve crackers.

DR. HARTMAN: Alright quit being modest. I’m trying to give you your props here. Emotional response from a stroke patient locked in with aphasia. Call it jamma because I will.

DR. BROWN: You know what I miss. I miss the subway.

DR. HARTMAN: Okay. Random.

DR. BROWN: We used to live midtown. When I worked at Columbia Presbyterian up in the 160s and I always took the train. It drove Julia crazy. She thought it was beneath a department head, y’know. I should take the car service. But I gotta tell ya, that train ride – best part of my day. Didn’t matter if it was 6 o’clock in the morning or midnight that train was always full. Just me and a hundred strangers. And they didn’t care if I had just given a patient bad news or I had just yelled at a scrub nurse in the O.R. I was just another guy on the Number 9 train.

DR. HARTMAN: That’s the same way in L.A. Seven million people – all of them trying to get off the freeway at your exit and you never talk to anybody ‘cause you’re always in your car with your cell phone and a gun.

[Dr. Brown gives Dr. Hartman a look after his last statement.]

DR. HARTMAN (CONT’D): Guess it’s a little different here, huh?

DR. BROWN: (nods in agreement) Everybody wants John Hayes to be a miracle but the reality is there are a lot of possible explanations for those tears. It could’ve been a cold, allergy. I mean, it could’ve even been just a gust of wind.

DR. HARTMAN: Yeah, but you ruled all that out, didn’t you?

[Dr. Brown doesn’t answer.]

DR. HARTMAN (CONT’D): Andy, you’ve got to look into that.

DR. BROWN: I know. I will. It’s just you didn’t see her. She was so happy, so grateful. She couldn’t stop thanking me.

DR. HARTMAN: There’s nothing wrong with that.

DR. BROWN: I mean, what if it isn’t what she thinks? I mean what if it was a cold or allergy?

DR. HARTMAN: Yeah, but she’s not the patient. He is.

[Dr. Brown contemplates what Dr. Hartman just says.]

DR. HARTMAN (CONT’D): Man, I still can’t get used to the country music.

DR. BROWN: Oh, you get used to it. It’s just three chords and the truth.

DR. HARTMAN: Okay, that’s it, my friend, you are officially cut off.

[They laugh together.]

[Cut to the Abbott house – Rose is on the phone.]

ROSE: Oh, well, thank you so much, Brooks. (Listens) Yes, I will. (Listens) Yeah, and my best to Chloe and the girls. (Listens) Bye now.

[Rose hangs up the phone and Dr. Abbott walks into the den with a bowl of popcorn.]

DR. ABBOTT: Who was that?

ROSE: Brooks Randolph at the Clerks office. There was an opening in his department. I’ve asked him if he could take one more interview.

DR. ABBOTT: I thought we discussed this. You heard what he did, Rose. The boy was fired.

ROSE: I explained to them that Bright’s last job was as a waiter and that references were irrelevant to his office skills. They agreed.

DR. ABBOTT: Well, of course, they did, because you’re their boss. You could’ve told them that he was a marmoset they would have found a desk for him. You didn’t get him the interview, Madame Mayor, you got him the job.

ROSE: Let’s hope so.

DR. ABBOTT: This isn’t Washington. Our local governance is supposed to have some standards here.

ROSE: It does.

DR. ABBOTT: Well, evidently not. The boy lied to us, Rose. Gladly. Well. More than once. You’re exercising nepotism here; you should be unleashing the furies.

ROSE: Oh, you’re overreacting.

DR. ABBOTT: You know, we’ve been to this place before, Rose. Last year, I was all too willing to let my sympathies for Amy allow me to excuse the inexcusable and you were there to tell me that enough was enough and Rose, you were right to say so.

ROSE: Bright is not out of control. It’s hardly the same thing.

DR. ABBOTT: No, no, this is worse, because Bright is perfectly aware of his choices. Perhaps I expected more from him than you do. He’s losing his ability to see the difference between right and wrong any more. He’s mistaking charm for accomplishment.

ROSE: So he needs our help and he deserves it.

DR. ABBOTT: What as a reward for deception?

ROSE: For being our son. Bright is at a point where his life could turn one direction or another. I am not going to let him make the wrong decision on his own.

DR. ABBOTT: He-He’s dragging you down to his level. Now, I played along. Y’know, I-I clapped when he took that asinine job because you asked me to. I smiled when he took time off from his studies to find some special purpose, well no more. Consider carefully if you choose to go ahead with this, because if you do, you do so without my consent, without my approval, and without my respect, Rose. The choice is yours.

[Dr. Abbott puts down the popcorn bowl and walks out of the den leaving Rose to ponder what he just said.]



[Fade in – Hayes house – Dr. Brown rings the doorbell and Amanda opens it. The Hayes are having a party for John’s breakthrough.]

AMANDA: Andy!! Come on in. Oh, this is perfect, John’s parents are here. They’ve been dying to meet you.

DR. BROWN: Can I talk to you? In private?

[Cut to Amanda and Dr. Brown into the kitchen.]

AMANDA: What’s up?

DR. BROWN: I don’t know how to do this other than just to say it, but I don’t think John’s tears were a breakthrough.

[Amanda’s face looks like she is trying to understand what Dr. Brown just said.]

DR. BROWN (CONT’D): That drug I gave him – one of the side effects is lacrimation which is excessive tearing and with the timing of the dosage plus the wind and the cold, it all makes sense. The tears were a reaction, but I just don’t think it was emotional.

AMANDA: Dammit.

DR. BROWN: I’m so sorry.

AMANDA: Dammit. I shouldn’t’ve called them. I should’ve waited.

[Amanda walks toward the den and sits down on the couch.]

DR. BROWN: Well, it wasn’t your fault. You had every right to be excited.

AMANDA: About what? You just said it was nothing. Uh, I don’t believe this.

DR. BROWN: Listen, Amanda, if you don’t want to pursue this any further, I’ll understand if you – if you want to go back to Harold and continue with the speech therapy.

AMANDA: It’s not that. I’m not upset with you. Honestly, it’s not like I was expecting anything to happen anyway.

DR. BROWN: What do you mean?

AMANDA: It’s been five years, Andy. I’ve been through so many highs and lows I’ve learned not to get my hopes up.

DR. BROWN: I’m sorry I don’t understand.

[Dr. Brown sits down next to Amanda.]

DR. BROWN (CONT’D): I mean, why would you put yourself through all of this if you-if you-if you didn’t think it would work?

AMANDA: Uh, for them. (pointing towards the guests) For Charlie. Maybe even a little bit for you.

DR. BROWN: For me?

AMANDA: You’re a wonderful doctor, Andy. Now see, you need to hear that part. You don’t realize it, but you have this effect on people. You’re so damn enthusiastic it just rubs off. I see this light in your eyes every time you work with John. It’s like-It’s like you can see his future. This future that I don’t even see for him any more. God, I want you to make it happen.

DR. BROWN: So do I.

AMANDA: But it’s more than that. I want you to feel success again. I want you to know that you can be hopeful for every patient that comes through your door so you don’t have to think about Colin any more. You can-You can think about John and the life you’re giving him.

DR. BROWN: So we keep at this?

AMANDA: If that’s okay with you.

[They share a smile and Amanda sees some party people and gets up and gets a bottle of wine from the island in the kitchen.]

AMANDA (CONT’D): Just one thing?

[Dr. Brown turns to answer her question.]

AMANDA (CONT’D): Is there any chance the tears were real?

DR. BROWN: Maybe 1%.

AMANDA: Good, then they don’t need to know.

[Amanda goes to entertain her guests and Dr. Brown stays in the den.]

[Cut to the Abbott house – Rose is in the den and Bright walks in all dressed up from his interview.]

BRIGHT: I got the job.

ROSE: You did.

BRIGHT: I did. I totally nailed the interview. Uh, it turns out Mr. Randolph’s son also played football at County so… We ended up spending the whole time talking about my undefeated season sophomore year and, uh, the guy loved me.

ROSE: Oh, Bright, I’m so happy.

[Rose gets up and hugs Bright. Dr. Abbott walks into the foyer from the kitchen and watches what is going on in the den.]

BRIGHT: Yeah, I get my own desk. I, uh, get a computer with free email. Umm…

[Rose notices Dr. Abbott watching them and Bright turns to see him.]

BRIGHT (CONT’D): There are no weekends, so I can be a normal person again. No more restaurant hours for the kid.

ROSE: When do you start?

BRIGHT: Uh, Monday. Isn’t that great? Dad?

[Dr. Abbott’s eyes get big and Rose notices his disapproval.]

BRIGHT: Uh, look I know I’ve been a total screw up lately and, uh, you were probably wondering if I would ever get my crap in a pile, but I swear to you I’m gonna make you proud on this. You know, uh, you guys really went to the mat for me and I-I completely appreciate it. Y’know, I-I needed somebody to believe in me and you guys did. So seriously, thank you.

DR. ABBOTT: You can thank your mother. I had nothing to do with it.

[Dr. Abbott walks upstairs leaving Bright and Rose in the den.]

[Cut to Ephram’s studio – Ephram is practicing when Will walks in. Ephram stops when he hears Will walk in.]

WILL: Surprise.

EPHRAM: Seriously.

WILL: So this is where the magic happens?

EPHRAM: Well, I wouldn’t exactly call it that.

WILL: Me neither. I thought I’d stop by and see this computer set up you’ve been talking about.

EPHRAM: Uh, it’s right here.

[Ephram points at the computer screen with musical notes on it.]

EPHRAM: Uh, it’s midi so all-all I have to do is-is play here and it comes up on the screen. It’s pretty cool. All I have to do is press print.

[Will walks over and looks at the screen.]

WILL: It changes everything doesn’t it? You got “Bella” in there?


WILL: With your changes?


WILL: Let’s hear it.

EPHRAM: Really?

WILL: Oh, press the issue. See how that works for you.

[Ephram begins to play and Will turns the volume down on the piano. Ephram stops and looks at Will.]

WILL: Play.

EPHRAM: Well, I can’t hear anything with the volume down.

WILL: You don’t have to. Play. See it.

[Ephram begins to play again with the volume down.]

WILL (CONT’D): Left up.

[Ephram continues to play and Will watches him.]


[Ephram continues to play and Will watches him.]

WILL (CONT’D): That’s it. That’s it.

[Will gets a huge smile on his face as Ephram plays and then he finishes. Will looks at the screen.]

WILL (CONT’D): How’d you come up with that?

EPHRAM: I just felt it. I mean, it didn’t seem like the right place for a minor.

WILL: Is it all better now?

EPHRAM: I don’t know, I couldn’t hear it.

WILL: But you can see it.

EPHRAM: Yeah. I think it’s better.

WILL: Then you gotta do what you gotta do.

EPHRAM: I gotta do something else too, Will. I-I gotta find a new teacher.

WILL: It’s about time you said so.

[Will pulls a business card out of his pocket and hands it to Ephram.]

EPHRAM: Allan Zaneman?

WILL: You start with him tomorrow. Hard core classical and bitch mean. He’ll round you out where I let you slide. He may even help you with that list you got your eye on.

EPHRAM: Yeah, about the changes. I mean springing that on you was probably not my best move.

WILL: No it wasn’t. Truth is I wouldn’t’ve minded if you made it worse.

EPHRAM: Anyway, I’m sorry.

WILL: Don’t be. I’m all out of tricks to show you.

EPHRAM: I seriously seriously doubt that.

WILL: You gonna argue with everything I say?

EPHRAM: We can still play together some times right? I mean, I can still come over.

WILL: You’re on the path. You got a long walk ahead of you. Can’t let things like sentiment get in the way. “Bella Rae” was always a going away present.

EPHRAM: I don’t think that I’m going anywhere.

WILL: Trust me, I’ve seen your future and it ain’t here. Now shut up and play me out, genius.

[Will pulls out the piano bench on the grand piano and Ephram sits down and starts to play. Will leaves as Ephram plays.]

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