This screenplay is copyrighted to its author. All rights reserved. This screenplay may not be used or reproduced without the express written permission of the author.
THE LUNCHROOM Episode Seventeen "The Show Must Go On" Teleplay by Bruce Snyder & Dominic Flanagan Story by Bruce Snyder Created by Bruce Snyder EXECUTIVE PRODUCER Bruce Snyder EXECUTIVE PRODUCER Vincent Biga EXECUTIVE PRODUCER Edward Drogos STORY EDITOR Rebecca Parker CAST LIST Will Cooper................................. Joel Mayberry............................... Brian Vandele............................... Brock Warner................................ Reicther.................................... Casey Jennings.............................. Chris Hughes................................ Ellen Conner................................ Cathy Matthews.............................. Mr. John Parker............................. GUEST CAST LIST Ms. Diane Ballard........................... Principal Bob Stevens....................... Brandon Brim................................ Rory Reid................................... Tom Lawrence................................ Gas Man..................................... Copyright © Bruce Snyder TEASER FADE IN: INT. AUDITORIUM- EARLY EVENING TITLE CARD: "Opening Night" The place is empty, as Showtime is nearing. WILL COOPER is by himself on stage, trying his hardest to move a heavy set piece offstage. He grunts as he struggles to move it. WILL (struggling) I do all this work for a musical ...and I'm not even gay. Will finally gives up. WILL If Parker wants it over there, then he can move it by himself. Will begins to walk backstage. Just then, we can hear a door open. Will turns and sees ELLEN CONNER and her small, brown haired friend RORY REID entering. Will hides behind the curtain before he can be seen. RORY Come on, Ellen. Tell me! ELLEN I don't feel like it. RORY Well, I feel like it. No offense, Ellen but this whole thing is driving me mad. ELLEN Me and Will are just friends, that's all. This has sparked Will's interest, who is now is watching from a small hole in the curtain. Rory lets out a fake cough. RORY Oh I'm sorry. I didn't realize I was allergic to bullshit. ELLEN You can't take my word for it? RORY Not when that word is "lie." ELLEN I'm not lying. RORY Really? ELLEN Maybe exaggerating but definitely not lying. Rory sighs, frustrated. ELLEN Rory, read my lips: Will and I are just friends. Will seems a bit disappointed. RORY Yeah, of course. I mean, you are right now, but...do you ever feel like you want something... more than that with him? Long pause. ELLEN Yeah. I think I do. Will smiles from ear to ear and begins jumping around. WILL Oh, yes! Yes! Oh, yes!! Ellen and Rory turn toward the stage and noticed Will who's danced his way onto the stage. WILL (stops jumping) Oh yes!! They still have Watermelon in cafeteria! And it's seedless! Oh, happy day! ELLEN No way! I love that watermelon! Ellen runs out of the auditorium. Rory gives Will a look. WILL (nervous; fake smile) Hi, there. CUT TO: OPENING CREDIT SEQUENCE: Marvin Gaye's "Ain't That Peculiar" plays over the credits. AFTER CREDITS: FADE IN: INT. CATHY HOUSE - LIVING ROOM - MINUTES LATER CATHY MATTHEWS is standing in the middle of the room. She wearing just a T-shirt and panties. In the background Supertramp's "The Logical Song" is blasting. Cathy is dancing around and singing. CATHY (singing) "When I was young It seemed that life was so wonderful A miracle, oh it was beautiful, magical And all the birds in the trees Well they'd be singing so happily Oh joyfully, oh playfully watching me But then they sent me away To teach me how to be sensible Logical, oh responsible, practical And they showed me a world Where I could be so dependable Oh clinical, oh intellectual, cynical." As Cathy is in the middle of her dance, JOEL MAYBERRY suddenly enters from the front door. He is dressed in a suit. JOEL I hope you don't mind, the front door was unlocked and - He finally notices that she's dancing in her underwear. CATHY (notices) Oh shit! She trips over her feet and falls to the ground. JOEL Oops. Cathy grabs a blanket from the couch and covers her bottom half with it. CATHY You should really knock! JOEL (laughing) Were you lip-syncing to a Supertramp song? CATHY That's tough talk coming from a Prince fan, Joel. JOEL Touché. Cathy goes and turns the music off. JOEL How come you're not dress? The play's going to start in less then an hour? CATHY You didn't get my message? JOEL What message? CATHY My father is going to take me and my family out to dinner. I called you to say I couldn't come. Joel sighs. CATHY Besides it didn't sound like that great of an evening anyway. JOEL And how's that? CATHY You were going to have me sit three rows away from you. JOEL What? Isn't that romantic? Cathy shakes her head and takes a seat on the couch. Joel takes a seat next to her and puts his arm around her. JOEL Cathy, I was only going to do it because we needed to keep our secret relationship, well you know...secret. CATHY Joel, I don't want a secret relationship anymore. Joel becomes wide eyed and scared. JOEL (stunned) ...What? CATHY Joel, I'm tired of this. I want to be able to hold your hand in public for once. I want to kiss you without you freaking out about who may have seen us. I just want the world to know that I'm dating a wonderful, sweet, caring man. Joel thinks. JOEL Can I think this over? CATHY (sighs) Fine. But just keep in mind that I don't think I'll do this secret thing anymore. Joel seems worried. CATHY Now get going. I have to get dressed and you have a show to get to. JOEL You're right. They kiss. CATHY I'll call you later. Joel gets up and leaves. Cathy waits a second. She then drops the blanket and turns the music back on. CATHY But first...I'll finish the song. She begins to dance again. CUT TO: INT. BRIAN'S HOUSE - LIVING ROOM - SAME BRIAN VANDELE is sitting in the armchair, watching TV. REICTHER is sitting on the couch, desperately trying to fix his tie. BROCK WARNER is putting on a suite jacket near the kitchen door. CASEY JENNINGS is looking into the mirror near the wall. We hear a toilet flush just as CHRIS HUGHES enters from the hallway. (Since it's opening night, all of these characters are wearing various dress shirts, pants, jackets, etc.) BRIAN So you're saying Natalie Portman is flat chested? BROCK She is kind of flat but there is something there...isn't there? REICTHER I think it's because of her being a vegetarian. BROCK (confused) What? CASEY Who cares? They're not that important. CHRIS Casey's right. I'm not gonna choose a four hundred pound woman just because she may have bigger breasts than Natalie Portman. CASEY Although truth be told, the bigger lady is bound to have bigger boobs than Natalie Portman. BROCK (to Reicther) Please, tell me you are not serious about vegetarianism causing small breasts. That is so ridiculous. I know many vegetarians with all kinds. Breast size has nothing to do with meat consumption - CASEY (giggling) He said meat. Brian giggles too. BROCK (CONT'D) Natalie Portman is a VERY small person. Most petite people are not top-heavy. She has the body of a little girl. Some girls do. It's just genetics. CHRIS Wait, are we really have a conversation about Natalie Portman's tits? BRIAN Sadly, yes. Brian laughs. Chris looks at the clock. CHRIS Brian, can I use your phone for a second? BRIAN Sure. Just don't be too long. The show's going to start soon. CHRIS Thanks. I won't. Chris grabs his a cordless phone from the floor. He dials a number and moves to the corner of the room. WOMAN'S VOICE (O/C) (filtered) Hello, Eastern Psychology. CHRIS Hi, can I speak to Kate Davidson, please? WOMAN'S VOICE (O/C) (filtered) Hold please. D-12's "Psychopath Killer" plays as Chris is put on hold. CHRIS What the hell? Chris hangs up. BRIAN What's the problem? CHRIS They put me on hold. BRIAN On hold? Where are you calling? CHRIS Eastern Psyche. CASEY The loony bin? REICTHER Oh, yeah, he's got a loony girlfriend in the loony bin! CHRIS Hey, she's not in a loony bin, and she's not a loony! BRIAN Oh, of course. I'm sure that knife just fell onto her wrist. Chris glares at Brian and redials the number. He waits for a beat. WOMAN'S VOICE (O/C) (filtered) Hello, Eastern Psychology. CHRIS Hi, can I speak to Kate Davidson, please? WOMAN'S VOICE (O/C) (filtered) Hold please. CHRIS hangs up. CHRIS I got put on hold again! CASEY You want to know what I think? CHRIS Not really, no. CASEY I think they're trying to stop you from seeing her. Either that or they're up to something. CHRIS Like what? REICTHER Three words my friend: abducted by aliens! CHRIS What? Just...what? Chris dials again. WOMAN'S VOICE (O/C) (filtered) Hello, Eastern Psychology. CHRIS Hi, can I speak to Kate Davidson, please? WOMAN'S VOICE (O/C) (filtered) Hold please. Chris hangs up. REICTHER I'm telling you, it's the aliens! Chris dials again. WOMAN'S VOICE (O/C) (filtered) Hello, Eastern Psychology. CHRIS Yes, do you have any spare cells for my friend Reicther? There's a knock at the door. Brian gets up and opens it. BRANDON BRIM walks in. BRIAN Hey, Brandon. BRANDON Hi, Brian. Hey guys. REICTHER Who's this? BRIAN Brandon Brim. CASEY I remember him. It's God-boy! Brandon looks offended. CASEY Would you prefer Jesus-lover? BRANDON Brandon seems to work just fine. REICTHER Whatcha doin' here? BRANDON Brian invited me to come see the musical with you guys tonight. Casey, Brock, Reicther, and Chris look over at Brian. BRIAN Yeah, I invited him. So what? CASEY So, first you kiss him and now you're dating him? You sure like to get things done, don't you? Brock hits Casey in the back of the head. Chris sighs at his ignorance. CUT TO: INT. SCHOOL - BALLARD'S ROOM - SAME MS. DIANE BALLARD is standing at her desk, fiercely looking through piles and piles of paper. MR. JOHN PARKER comes in, closing the door. PARKER Okay, curtain goes up in thirty minutes. Everyone is putting on their final make-up touches. BALLARD I'm just going to grab my script and head toward the booth. Parker walks toward her. Ballard finally finds her script amongst the junk. She is heading towards the door, when Parker grabs her and starts to kiss her. She pushes him away. BALLARD What are you doing? PARKER I believe the scientific name is primitive mating. BALLARD Look, John. I've been meaning to talk to you about that. PARKER Okay. Shoot. BALLARD I've been thinking about it and I think we really should stop this. PARKER What? Why? BALLARD John, it's extremely unhealthy. I mean we get into these heated arguments and then just spontaneously have sex. PARKER Actually this is probably the most normal relationship I've ever had. Which is speaking very highly of you. BALLARD Funny, because that statement speaks very poorly of you. PARKER Oh look. It's Ms. Condescending Rice, the secretary of talking down to people. BALLARD Wow, I'm surprised you can talk so clearly. What with your head up your ass. Pause. They start to kiss before Ballard pulls away again. BALLARD Damn it! See! That's what I was talking about! It's just confusing and wrong and down right stupid. PARKER Just stifle there for a minute, will ya' Diane? It might seem weird to you but that's just because you make sex out to be something bigger than it is. You look at it as the main part of the meal, while I look at it as that free toy you get with the kid's meal. Ballard gives him a look. BALLARD Did you just compare me to a fucking toy! PARKER At least I can bend them anyway I want. Ballard slaps him really hard in the face. BALLARD You self righteous son of a bitch! PARKER Look who's talking, cunt muscle. She pushes him. BALLARD Paranoid motherfucker! Ballard goes to push him but he grabs her arms before she can do it. Beat. They furiously start to make out. BALLARD This is wrong. PARKER Give it a rest. We've only got twenty five minutes. BALLARD You've got ten. PARKER If it's a bargain, then I'll be done in five. They fall to the ground, kissing. CUT TO: INT. SCHOOL - HALLWAY - SAME PRINCIPAL BOB STEVENS is walking down the hallway, whistling. He stops a young MALE STUDENT. STEVENS Excuse me, son. Have you seen Ms. Ballard? MALE STUDENT She's in her room. STEVENS Thank you. Stevens continues on. As he goes further down the hallway, we start to hear a faint moaning sound. He stops and looks around. STEVENS What the hell? He slowly begins to move again and notices that the sound is getting louder as he moves along. He finally arrives at Ballard's room and it's very obvious that it's where the sound is coming from. The moaning appears to be Ms. Ballard herself. Stevens realizes what's going on. STEVENS Good God! This is going to end now! Stevens puts his hand on the handle, just as an extra loud moan comes from inside. He quickly removes his hand. STEVENS Uh, I guess I can wait till their done. CUT TO: EXT. JOEL'S CAR - MINUTES LATER Establishing shot. It's barreling down the road. CUT TO: INT. JOEL'S CAR - CONTINUOUS Joel is driving, but his mind is someplace else. The song "The Greatest American Hero" is blasting from the radio. JOEL Better get some gas. Suddenly the car starts to make funny noises. JOEL What the fuck? Joel turns the wheel. CUT TO: EXT. JOEL'S CAR - CONTINUOUS His car is slowly turning into a gas station but it suddenly dies only halfway there. It's not stopped in the middle of oncoming traffic. INT. JOEL'S CAR - CONTINUOUS Joel is scared. JOEL Fuck, fuck, fuck! He desperately tries to start the car. No luck. CUT TO: EXT. JOEL'S CAR - CONTINUOUS A Semi Truck is speeding towards Joel's car. He's not slowing down but instead honking. CUT TO: INT. JOEL'S CAR - CONTINUOUS Joel is extremely frightened. JOEL Come on! Fucking start! He keeps trying over and over again. We can hear more Semi honking. Suddenly the car starts. Joel SLAMS on the pedal. EXT. JOEL'S CAR - CONTINUOUS Joel's Car quickly speeds into the Gas Station BARELY missing the Semi Truck. CUT TO: EXT. SMALL GAS STATION - CONTINUOUS Joel's Car quickly speeds into a spot and stops very abruptly. Joel staggers out of the car. He is shaking. He takes a few steps away from the car. Suddenly he looks down at his crotch and notices a giant WET SPOT. He looks confused. JOEL (about pants) Now when did that happen? Joel starts to pace, taking deep breaths. Suddenly an elderly man in overalls appears. He is the GAS MAN. He seems amazed that Joel survived it. GAS MAN Are you okay son? JOEL Yeah. Just a little shaken up. He continues to breath deep. GAS MAN Wow, you're lucky. That truck could've killed you! JOEL I know. GAS MAN (jokingly) You don't have bad karma do you? The Gas man begins to laugh. Joel seems to think about this. GAS MAN Well, I'm going to go check out your car. Shouldn't take more then a few minutes. Gas Man walks away. Joel seems to be in deep thought before having some kind of revelation. CUT TO: INT. AUDITORIUM - SAME Establishing shot. People are starting to file into the seats. INT. AUDITORIUM - BACKSTAGE - SAME VARIOUS MEMBERS of the cast and crew are running around, getting ready. Some are putting on make-up, while others are putting set pieces in the right spots. Will and Ellen are standing off to one side. Ellen is putting a FAKE BEARD onto Will. WILL I'll say it again: All this work for a musical and I'm not even gay. ELLEN Well you sure did fool me. WILL I'm not gay, I'm straight. ELLEN You're about as straight as a curly fry. Hell, the other day you were telling me how cute your friend Joel is - WILL (overlapping) Handsome! We're just friends and I was complimenting him. Ellen finishes. ELLEN I'm going to go find Parker. Ellen leaves, with Will following him. WILL Hey, if you were gay who would it be for? She thinks. ELLEN Any female from "Grey's Anatomy." WILL Any? Even that large, black one? ELLEN Especially her. My cushy for the pushy. WILL Pardon me while I try to shake that comment from my mind. Will shakes. WILL Nope. Didn't work. ELLEN What about you? Who would you go gay for? WILL Who wouldn't I go gay for? George Clooney, Christian Bale, Don Cheadle, John fucking Stamos. ELLEN (sarcastic) Oh yeah, you're definitely not gay. WILL I just have perfectly normal heterosexual man crushes. Nothing wrong with that. ELLEN If you're gay there's no problem. Pause. Ellen laughs, Will gives her a look. ELLEN I'll be right back, I have to find Parker. Ellen leaves. Will watches her leave, not noticing Rory who comes up behind Will. RORY You heard. WILL That Guns and Roses are getting back together. It's great isn't it? RORY No. Earlier. You heard what Ellen and I were talking about. WILL I have no idea what you're talking about. RORY Are you playing dumb? WILL No, this is my natural demeanor. (pause) Of course I heard. And "I like Will" has quickly become the greatest three words I've heard since "Journey Performs Live." RORY Okay, listen, I've known Ellen for almost six years. WILL (confused) Good for you. RORY Listen, if you're going to act on this Ellen thing, you have to do something fast. WILL Why? RORY Do you want to be in a relationship with her? WILL Uh...yeah. Yeah, I think I do. RORY Then you better do something quick, or you'll end up in the Friend Zone. WILL (terrified) The Friend Zone? RORY Yep. WILL Oh shit. Where's Ellen? He takes off, looking every which direction for her. CUT TO: INT. BRIAN'S HOUSE - LIVING ROOM - NIGHT Brian, Brandon, Brock, Chris, Casey & Reicther are sitting around, listening to Brandon's story. BRANDON ...so basically, all you do is go there, pray, and tell people your thoughts about God. What you think he looks like, why he does what he does, etc... REICTHER (bored) Wow. CASEY How long did you say that went on for? BRANDON Three to four hours. CHRIS (sarcastic) Oh, so about the same length as your story. BRIAN Okay, guys. Come on, we'd better get going. BRANDON Okay. Everyone stands up. Casey and Brock give a gesture to Chris and Reicther. Brian and Brandon head toward the door. BRIAN Are you guys coming? CASEY We'll be out in a minute. Brian and Brandon leave. CHRIS So, what do you think about this Brandon guy? CASEY He makes me want to blow my fucking brains out. BROCK What's ironic is that he doesn't make the suicidal guy want to blow his brains out. CASEY We've got to get rid of him. CHRIS Easier said than done. If we reject him, he'll just think it's part of God's master plan or some shit. The guys laugh. CHRIS No, we need something to annoy him, to drive him away from here. CASEY What could be that annoying? CHRIS We need something to make him want to stay away from Brian and all of us. After a beat, everyone looks at Reicther. REICTHER What? BROCK Reicther...we need a favor from you. REICTHER Oh, no! No way am I annoying that guy! He can't be annoyed! The guy is like Ned Flanders but with five fingers! BROCK Trust me, if anyone can annoy this guy, it's you. REICTHER Well thanks, but... y'know...I can't do it. BROCK I'll give you ten bucks. REICTHER Okay, done. Brock and Reicther shake hands. Then everyone leaves. CUT TO: EXT. BRIAN'S HOUSE - DRIVEWAY - SAME Brian and Brandon are already in Brian's car. BROCK Hey, Casey, should we go get Joel? CASEY Yeah. (to BRIAN) Okay, we'll meet you guys there. (to REICTHER) You fucking better be annoying. Casey and Brock head for Casey's car. Chris and Reicther get into Brian's car. CUT TO: INT. BRIAN'S CAR - CONTINUOUS Reicther and Chris pile into the back seat. BRIAN Reicther, you're not going to be annoying, are you? REICTHER Of course not. Don't be silly. Beat. Reicther looks in his pockets and pulls out a bag of potato chips. BRIAN Reicther, don't eat them in my car. You'll drop them all over the seat. REICTHER Fine. I'll eat them when we get to school. (beat) Hey Brim... BRANDON Yeah? REICTHER How loud do you think I can crunch these potato chips? CUT TO: INT. SCHOOL - HALLWAY - SAME The hall is empty. Suddenly Ballard pops her head from a corner to make sure the cost is clear. She then comes out and starts to walk down the hallway, all the while fixing her clothes up. Stevens pops out of a corner and stops her. STEVENS Wait right there, Mary Kay LeTourneau. BALLARD I can't talk, Bob. The show's about to start. STEVENS Oh, right...the show. Silly me I forgot. Well you better run off and enjoy your last show. BALLARD (confused) What...last show? Bob are you firing me from the theatre department? STEVENS Actually I'm just firing you in general. BALALRD (outraged) What are you talking about!? STEVENS You're terminated. Starting Monday you no longer teach here. BALLARD Terminated? On what grounds? STEVENS For the sexcapades I heard going on between you and a student. BALLARD (confused) Student? STEVENS I heard the smut you were saying. "You've been a bad little student." I don't know how they do things in Vermont but sex with students is strictly prohibited in Indiana. BALLARD Wait! You've got it all wrong! It was Parker - STEVENS Please, Diane. Don't blame this on him. I clearly heard your voice in there. Besides, do you really think a student would willingly have sex with John Parker? P.A. (V/O) The auditorium doors will close in five minutes. Stevens looks her over. STEVENS Well, the show must go on, Diane. You can stay for tonight's performance because I don't want you upsetting the cast. But after tonight, you no longer work for Centerville High School. He walks away. Ballard's eyes are starting to water. CUT TO: INT. AUDITORIUM - BACKSTAGE - MINUTES LATER Will and Ellen are standing near the curtains, both in costume. Ellen is dressed like a peasant while Will has a fake beard and looks like an ambassador. WILL Uh...Ellen, there's...there's something I've...been...I've been wanting to do. ELLEN What? WILL Um...see...basically, since I met you, I... The lights dim. As Will looks up at the lights, Ellen walks away and somebody else sits next to Will. WILL (V/O) What the hell am I stuttering for? I like this girl! I had no problem telling girls I liked them before! Screw it! Just do what Rory said, act fast! WILL leans over and kisses Ellen for at least ten seconds. The lights go up. WILL So, will you... WILL realizes that he's actually kissed TOM LAWRENCE, a gay student. TOM (smiling) I knew you were gay! WILL What the fuck?! Will notices that Ellen has walked over and is talking to someone else. WILL Oh, my God! (pause) Well, at least nobody saw me. Will turns around and sees about TWENTY STUDENTS, all pointing and laughing. WILL Shit. CUT TO: INT. AUDITORIUM - DIRECTOR'S BOOTH - SAME Parker is working the controls, talking to crew members through a headset. PARKER (into mike) Okay, Nicole. I want you to slowly rise the curtains when the lights dim again. Wait for the orchestra though. VOICE (O.S.) Will do. PARKER (into mike) Hey, Dustin. Have you seen Ballard? VOICE (O.S.) Nope. PARKER (into mike) Any sign of her backstage, Nicole? VOICE (O.S.) Sorry but no. Parker seems annoyed. PARKER Where the hell is she? CUT TO: INT. MAYBERRY HOME - LIVING ROOM - SAME The room is empty and dark. There is a knock at the door. CASEY (O.S.) Joel! The door opens and Casey and Brock walk in. BROCK I thought we were suppose to pick him up. CASEY We are. JOEL (O.S.) I'm down here! CASEY Where's "here?" JOEL (O.S.) The basement, you twat! Casey and Brock leave the room. CUT TO: INT. MAYBERRY HOME - BASEMENT - SECONDS LATER Casey and Brock are walking down the stairs. Joel is pacing around the room. CASEY Uh, hi Joel. You okay? JOEL Yeah, yeah...actually no. BROCK Something wrong? Beat. JOEL I need to tell you guys something. CASEY Are you gay? JOEL (confused) What? No! (beat) Now what I have to say is a bit shocking but - CASEY Will's gay! JOEL No! This has nothing to do with who's gay. It's about me and Cathy. CASEY Oh my God! Cathy's gay, isn't she? Joel sighs. Brocks hits Casey. JOEL Anyway, as you guys know, I've been seeing Cathy for a while now. And the whole time I've some how by a miracle kept Brian from knowing about it. I know you guys thought it was a bad idea to keep it from him. CASEY Of course. BROCK (overlapping) Still a bad idea. JOEL Well, I know how to make up for it. I'm going to tell Brian the truth and ask for his forgiveness. Pause. Shock from Brock and Casey. CASEY Could you say that again. See I had a hard time hearing you over the sound of me shitting myself. JOEL You guys don't like it? BROCK Joel, as a very close friend who's concern for you I have to ask...ARE YOU OUT OF YOUR GODDAMN FUCKING MIND!!! JOEL Why are you guys upset? I figured you would like the fact that I'm finally going to tell the truth. BROCK Normally we would be happy, but do you realize how much the truth sucks? And besides what's up with this sudden urge to tell him the truth? JOEL I almost got killed tonight. My car just stopped in the middle of oncoming traffic. By sheer luck, the engine started up again. By sheer luck, the engine started up. By chance I wasn't killed. Then this man told me that I might have bad karma. I realized that I'm being punished for not telling Brian about Cathy. BROCK Karma? What did you fall asleep watching "My Name Is Earl"? JOEL I'm dead serious guys. I've got to tell him. It's the only way to set things right. BROCK Set things right? Joel, what you are about to is pretty fucking far from setting things right. Do you realize how much of an impact this will have? Brian's not going to forgive you for stealing the girl of his dreams. CASEY To be fair, she did think Joel wrote the love letter. BROCK Not the point, Case! Do you really want to lose Brian as a friend because I guarantee that will happen. What about Cathy? She'll be mad as hell to learn you screwed over your best friend and lied about that love letter. And what about us? With you two on the outskirts the group will fall apart. Some will go with you, some will go with Brian. The point being we won't be the "The Group" anymore. We'll just be those nerdy guys with the black Jew. Do you want to risk all that, just so you can have a little bit of good karma? Joel is taken aback by this. CASEY I've got to hand it to you Brock. You don't talk often but when you do it's insightful and to the point. Beat. Joel is in deep thought. JOEL God, you're right. I can't tell him. Brock and Casey sigh in relief. JOEL I don't know what came over me. CASEY It's okay man. JOEL Boy, that was stupid. Here, let me make it up to you guys. Let me run upstairs and get you those Jello cups you like. BROCK I don't know if we have enough time. CASEY There is ALWAYS time for Jello. JOEL I'll only be gone a second. Joel walks up the stairs. Brock and Casey wait till he's completely gone before they start talking. BROCK God, he had me worried. CASEY Yeah, me too, but really Joel would never do that. We suddenly hear the basement door SLAM. It's followed by the sound of several locks locking. BROCK What was that? CASEY I think that was Joel proving me wrong. Brock runs up the stairs and tries to open the door. BROCK He locked us in! CUT TO: INT. MAYBERRY HOME - HALLWAY - SAME Joel is standing in front of the basement door. He has locked all six locks on the door and placed a chair in front of it. JOEL Sorry but I have to do this! I have to set things right! Joel runs off toward the front door. CUT TO: INT. MAYBERRY HOME - BASEMENT SAME Brock and Casey are both standing by the door way, trying the hardest to open the door. CASEY Let us out! Casey gives it one big push. Nothing. CASEY Oh my God! What are we gong to do? He's going to tell Brian! BROCK We've got to get out of her and stop him. CASEY But we can't. The door are bolt locked. There's only one tiny window. Plus Joel's got a good couple minute lead on us. Beat. BROCK I guess...this means The Group is going to break up. Brock sighs in defeat. Casey looks very worried. FADE OUT. TO BE CONTINUED... END OF EPISODE
Return to SimplyScripts.com