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I can still hear those sobs. So lost . . . so heartbroken.
BILL.
Kate, have you ever thought you recognized someone on the street, and called her, and when she finally turned around it was a total stranger?
KATIE.
Yes, once. In Seattle. I was in a mall and I thought I saw my old roommate. I . . . oh. I see what you're saying.
BILL.
Sure. There are sound-alikes as well as look-alikes.
KATIE.
But . . . you know your own. At least I thought so until tonight.
She puts her cheek on his shoulder, looking troubled.
KATIE.
I was so positive it was Polly . . .
BILL.
Because you've been worried about her getting her feet under her at the new school . . . but judging from the stuff she told you tonight, I'd say she's doing just fine in that department. Wouldn't you?
KATIE.
Yes . . . I guess I would.
BILL.
Let it go, hon.
KATIE (looks at him closely) I hate to see you looking so tired. Hurry up and have an idea, you.
BILL.
Well, I'm trying.
KATIE.
You coming to bed?
BILL.
Soon as I finish taping this for Jeff.
KATIE (amused) Bill, that machine was made by j.a.panese technicians who think of d.a.m.ned near everything. It'll run on its own.
BILL.
Yeah, but it's been a long time since I've seen this one, and . . .
KATIE.
Okay. Enjoy. I think I'll be awake for a little while. (Pause) I've got a few ideas of my own.
BILL (smiles) Yeah?
KATIE.
Yeah.
She starts out, showing a lot of leg, then turns in the doorway as something else strikes her.
KATIE.
If they show that part where the punk's head gets - BILL (guiltily) I'll edit it.
KATIE.
'Night. And thanks again. For everything.
She leaves. BILL sits in his chair.
INT. TV, CU.
A couple is necking in a car. Suddenly the pa.s.senger door is ripped open by the dead guy and we DISSOLVE TO: INT. KATIE, IN BED.
It's dark. She's asleep. She wakes up . . . sort of.
KATIE (sleepy) Hey, big guy - She feels for him, but his side of the bed is empty, the coverlet still pulled up. She sits up. Looks at: INT. A CLOCK ON THE NIGHT-TABLE, KATIE'S POV.
It says 2:03 A.M. Then it flashes to 2:04.
INT. KATIE.
Fully awake now. And concerned. She gets up, puts on her robe, and leaves the bedroom.
INT. THE TV SCREEN, CU.
Snow KATIE (voice, approaching) Bill? Honey? You okay? Bill? Bi - INT. KATIE, IN BILL'S STUDY.
She's frozen, wide-eyed with horror.
INT. BILL, IN HIS CHAIR.
He's slumped to one side, eyes closed, hand inside his s.h.i.+rt. DAWN was sleeping. BILL is not.
EXT. A COFFIN, BEING LOWERED INTO A GRAVE.
MINISTER (voice) And so we commit the earthly remains of William Weiderman to the ground, confident of his spirit and soul. 'Be ye not cast down, brethren . . . '
EXT. GRAVESIDE.
All the WEIDERMANS are ranged here. KATIE and POLLY wear identical black dresses and veils. CONNIE wears a black skirt and white blouse. DENNIS and JEFF wear black suits. JEFF is crying. He has Rambo the Dragon under his arm for a little extra comfort.
CAMERA MOVES IN ON KATIE. Tears course slowly down her cheeks. She bends and gets a handful of earth. Tosses it into the grave.
KATIE.
Love you, big guy.
EXT. JEFF.
Weeping.
EXT. LOOKING DOWN INTO THE GRAVE.
Scattered earth on top of the coffin.
DISSOLVE TO:.
EXT. THE GRAVE.
A GROUNDSKEEPER pats the last sod into place.
GROUNDSKEEPER.
My wife says she wishes you'd written a couple more before you had your heart attack, mister. (Pause) I like Westerns, m'self.
THE GROUNDSKEEPER walks away, whistling.
DISSOLVE TO:.
EXT. A CHURCH DAY.
t.i.tLE CARD: FIVE YEARS LATER.
THE WEDDING MARCH is playing. POLLY, older and radiant with joy, emerges into a pelting shower of rice. She's in a wedding gown, her new husband by her side.
Celebrants throwing rice line either side of the path. From behind the bride and groom come others. Among them are KATIE, DENNIS, CONNIE, and JEFF . . . all five years older. With KATIE is another man. This is HANK. In the interim, KATIE has also taken a husband.
POLLY turns and her mother is there.
POLLY.
Thank you, Mom.
KATIE (crying) Oh doll, you're so welcome.
They embrace. After a moment POLLY draws away and looks at HANK. There is a brief moment of tension, and then POLLY embraces HANK, too.
POLLY.
Thank you too, Hank. I'm sorry I was such a creep for so long . . .
HANK (easily) You were never a creep, Pol. A girl only has one father.
CONNIE.
Throw it! Throw it!
After a moment, POLLY throws her bouquet.
EXT. THE BOUQUET, CU, SLOW MOTION.
Turning and turning through the air.
DISSOLVES TO:.
INT. THE STUDY, WITH KATIE.
The word-processor has been replaced by a wide lamp looming over a stack of blueprints. The book jackets have been replaced by photos of buildings. Ones that have first been built in HANK'S mind, presumably.
KATIE is looking at the desk, thoughtful and a little sad.
HANK (voice) Coming to bed, Kate?
She turns and THE CAMERA WIDENS OUT to give us HANK. He's wearing a robe over pajamas. She comes to him and gives him a little hug, smiling. Maybe we notice a few streaks of gray in her hair; her pretty pony has done its fair share of running since BILL died.
KATIE.
In a little while. A woman doesn't see her first one get married every day, you know.
HANK.
I know.
THE CAMERA FOLLOWS as they walk from the work area of the study to the more informal area. This is much the same as it was in the old days, with a coffee table, stereo, TV, couch, and BILL'S old easy-chair. She looks at this.
HANK.
You still miss him, don't you?
KATIE.
