As Good as It Gets Page #5

MELVIN:

(quietly)

I'm not saying nothing to you.

FRANK:

Thanks for looking after him.

Frank pushes open the door to Melvin's apartment and

places Verdell inside.

INT. MELVIN'S APARTMENT - NIGHT

MUSIC IN:
as Frank pulls the door partially closed to

block Verdell's escape.

The music represents Verdell's state of mind -- trapped

in the apartment of the man who tried to kill him. We

STAY with the dog during the O.S. dialogue: As his head

turns in panic we see his various POVs as the dialogue

continues O.S.

MELVIN (O.S.)

Hey, where are you going? You

can't do this.

(calls after Frank)

I can't take a dog.

(a confession)

Nobody's ever been in here before.

FRANK (O.S.)

(threatening)

You don't want to mess with me

today. I'll figure something else

out tomorrow.

INT. MELVIN'S APARTMENT - LIVING ROOM - NIGHT

Melvin enters -- the dog cowers in the shadows. Now

Melvin sees him.

MELVIN:

You're dead!!

VERDELL STOPS -- gives Melvin wide berth -- slinking

along the far wall. Melvin finds Verdell's fear of him a

bit calming.

MELVIN:

I don't have dog food. And I

won't want dog food here. You'll

eat what we have. You'll eat what

we eat.

Melvin exits. Verdell is in a major funk.

INT. MELVIN'S APARTMENT - KITCHEN - NIGHT

Melvin breaks two eggs over a large pile of prime chopped

meat, sticks raw pieces of bacon into it and exits the

room.

MELVIN:

Don't you touch anything.

INT. MELVIN'S APARTMENT - LIVING ROOM - NIGHT

Verdell cringing as his new master approaches -- MUSIC

CONTINUES ominously. Melvin sets the bowl down and

exits... Verdell breathes excitedly though looking

alternately in all directions... his recent past making

him suspect this feast is a trick. He sniffs

cautiously -- then dives in -- GOTHIC MUSIC CHANGING on a

dime TO SCORE his RAPTURE... from O.S. we hear the sound

of RUNNING WATER as steam escapes the bathroom -- then

MUSIC OUT -- as Melvin returns... ignoring Verdell he

sits at the piano and his one key repeatedly. It's odd.

Verdell shifts his body so he is eating from the bowl

with his tail to Melvin. Then Melvin begins to play and

sing Monty Python's "Always Look On The Bright Side Of

Life," with its cheerful whistle refrain. Verdell looks

over with surprise and pleasure. But just as mood lifts

and warmth threatens, Melvin stops abruptly, turns out

the lights and exits.

INT. HOSPITAL CORRIDOR - DAY

Frank on the phone.

FRANK:

(into phone)

Put the solid red dots on three of

them and the hold blue dots on two

others... Well, we're not going to

sell anything if they know we're

two weeks into a show and have no

sales. No, you can't reduce a

price at this stage... We're in

free fall here. Any calls?

JACKIE:

We can see him.

FRANK:

I'll meet you in there.

INT. HOSPITAL ROOM - DAY

As Jackie enters.

JACKIE:

How you doing, great one?

SIMON:

I haven't looked at myself yet. I

figured I could tell from your

reaction.

He turns toward her. Much of his body -- taped -- his

painting hand wrapped. Simon's face is something of a

horror. Swollen, one savage discolored cut. We are into

yuccchhh... The sight is a jolt. Jackie breaks into

tears... sobs, actually.

SIMON:

That bad, huh?

They share a helpless half-laugh -- then Frank appears in

the doorway.

FRANK:

Hey, hey...

(as he sees him)

Haaa... bad but temporary. The

nurses say it's much better than

you looked three weeks ago... the

hand will come back... they're

sure...

SIMON:

Jackie, will you hand me the

mirror?

JACKIE:

(a small voice)

No.

She starts to hand him a large mirror from her purse --

then thinks better of it.

JACKIE:

Wait, I have a smaller one.

But he holds out his hand and she gives him the mirror --

he starts to look -- then thinks better of it.

SIMON:

So, what's new anyway? How's

Verdell?

FRANK:

(sheepish)

Your neighbor -- Udall -- is

taking care of him.

SIMON:

(suddenly alive and upset)

How could you do that? He'll hurt

him.

FRANK:

No, I promise... not a chance. I

own this guy. There was no one

else. I'm on the move too much.

Trust me.

SIMON:

You are very certain my dog is

okay... because you have no

idea...

FRANK:

Yes. Your dog is fine, Simon.

Simon holds the mirror poised for a moment of discovery,

then he takes a breath -- like someone about to dive

underwater. First a small, mumbled pep talk to himself.

SIMON:

Okay, waiting gives the devil

time. Now!

He quickly brings his hand up and looks at the mirror...

he is startled -- the bottom drops out -- leaving him

awed by his misfortune.

SIMON:

Oh my... Where'd I go? Ummmm?

EXT. CAROL'S RESTAURANT - DAY

AN ESTABLISHING SHOT FEATURING Verdell tied up in front.

INT. CAROL'S RESTAURANT - DAY

Melvin finishing a plate of eggs, bacon and sausage with

his plastic knife and fork. Carol looks totally beat as

she sets down a cup of coffee. Melvin is craning

periodically to keep an eye of his dog.

CAROL:

So what are you doing with a dog?

MELVIN:

Suckered in. Set up. Pushed

around.

CAROL:

You're not worried that someone

might take him?

MELVIN:

Well, not until now -- for

Christ's sake.

CAROL:

Sorry.

MELVIN:

It's okay -- I'll sit here.

He changes tables for the first time ever so that he can

keep an eye on Verdell. Carol is amazed.

CAROL:

You know he's a little dog. Next

time, if Bryan's not here, you can

bring him in.

MELVIN:

How old are you?

CAROL:

Oh, please...

MELVIN:

If I had to guess by your eyes,

I'd say you were fifty.

Carol looks at him.

CAROL:

And if I had to guess by your

eyes. I'd say you were kind. So,

so much for eyes. But as long as

you bring up age... how old are

you?

MELVIN:

(quickly)

Otherwise, you're not ugly.

CAROL:

(laughs out loud)

Okay, pal... I accept the

compliment, but go easy -- my

knees start a-knocking when you

turn on the charm full blast.

MELVIN:

What's with the dark?

He indicates the bags under her eyes by tapping his own.

CAROL:

Dawn patrol -- major dawn patrol.

My son had a full blown attack.

And this time, for extra fun, they

gave us the wrong antibiotics, so

I get him home...

She reaches for the plate of uneaten bacon -- he goes

nuts.

MELVIN:

No... no... leave it... the

bacon's for the dog.

She is jolted by the insensitivity of his interruption,

but he doesn't notice, turning, almost chatty.

MELVIN:

Last week I was playing the piano

for him and he likes it, and so I

decide I'm going to make a little

joke...

CAROL:

You all set here?

Melvin nods -- a bit frustrated about not being able to

finish his dog story. He pockets the remaining bacon.

EXT. NEW YORK STREET - DAY

As Melvin walks Verdell back home, we notice, perhaps a

beat before Melvin, a remarkably event. Verdell is

avoiding the cracks in the sidewalk.

MELVIN:

It's a beautiful day for our walk.

Melvin slows -- observes the dog mirroring his behavior.

Rate this script:0.0 / 0 votes