Runaway Bride Page #10

Maggie shoots Ike an accusing look, walks up to him in the

bleachers and sits next to him.

MAGGIE:

You've been here for three minutes.

What did you do to her?

IKE:

You can turn that finger around.

Ike does an on-the-button imitation of Maggie jumping excitedly

at Cory. Now Maggie sees what he's getting at.

MAGGIE:

(defensive)

You misinterpret everything. We've all

been friends our whole lives. But

that's the types of relationship you

wouldn't understand.

IKE:

Obviously, I'm not the only one who

doesn't understand it. The USS Maggie

leaves quite a wake... Excuse me.

Ike walks away. Alone, Maggie tries to seem enthused.

MAGGIE:

See, I cheer good. What is he, a cheer

critic?

EXT./INT. STREET/BAR - LATER - DUSK

Sitting in front of Inn Hale Bar, we see the BARTENDER

pantomiming holding the reins of a wildly galloping horse. We've

seen something like this before. Maggie's wild ride away from

her last wedding. Ike laughs with Bartender just as Maggie

drives by the bar and sees this.

MAGGIE:

(to herself)

This guy never stops.

INT. ATLANTIC HOTEL - NIGHT

Maggie walks up to the front desk of the hotel, where Lee is

sleeping with his feet up. She knocks his feet off the counter.

MAGGIE:

Lee, hey, wake up. Give me the key to

the reporter's room. I want to snoop

around.

LEE:

(handing her the key)

Okay. Second floor.

MAGGIE:

Thanks.

LEE:

Don't take anything big.

Maggie moves up the stairs towards Ike's room.

INT. ATLANTIC HOTEL - HALLWAY - MOMENTS LATER

Maggie walks towards Ike's room, checks that no one sees her and

enters.

INT. IKE'S HOTEL ROOM - CONTINUOUS

Maggie lets herself in the modest room and turns on the lights

on. She spots on audio cassette on the desk near the door. She

holds the cassette up to the light to read the hand-written

label. It says "Miles Davis" on it. She pockets the tape. She

walks to the living room.

MAGGIE'S POV:

Ike has placed post-its on a framed picture, using the frame as a

bulletin board. Post-it notes lay out the information he has

gathered under headings and subheadings. Parents "Mother"

deceased, subheaded by "Walter" and there is one for "Brian",

"Gill", and "Bob". Maggie smiles and shakes her head. She rips

one post-it down and reads it to herself.

MAGGIE:

(reads)

"How does she get all these guys to

propose? She's not that beautiful."

(snorts)

Bite me, paper boy.

She begins ripping many of other post-it off the picture frame.

MAGGIE (cont'd)

(as she takes post-its)

Rude...

She's ripping them down, fast and furious, then shoves them in

her shoulder bag.

INT. ATLANTIC HOTEL HALLWAY - CONTINUING

Ike comes down hallway as Harvey puts his shoes out to be shined.

BACK INSIDE THE ROOM

Maggie, looking around, discovers the wedding video on the

coffee table and grabs that, too.

MAGGIE (cont'd)

Thief!

THE SOUND OF A KEY IN THE DOOR makes Maggie jump. She flees to

the bathroom, and shuts and locks the door. Just as Ike enters,

he sniffs and looks around the room, instantly knowing something

is up. He sees all his notes gone and a glimpse of Maggie as she

closes the bathroom door. Ike is steaming. A BUMP sounds from

the bathroom. He goes over to the door and tries the handle.

It's locked. He starts to pound on the door.

IKE:

All right, I know you're in there...

You steal my research... You're messing

with the first amendment now. Open up.

Open up. You got no place to go.

INT. IKE'S HOTEL BATHROOM - CONTINUING

Ike's wrong. Maggie is already trying to open the first

bathroom window. It's stuck. She climbs over the bathtub,

opens that window and starts to climb out.

IKE:

I want to have a very serious discussion

with you as to why you're such a pain in

the ass.

We HEAR Ike slamming his body against the bathroom door.

As Ike breaks in, he runs to the window and yells after her.

EXT. IKE'S HOTEL WINDOW - CONTINUOUS

IKE (cont'd)

That's breaking and entering. I'll call

the sheriff.

MAGGIE:

You do that. And remind him he's

bringing the wine to the luau. Thanks.

She disappears around the ledge of the building and runs off.

Ike's neighbor, Harvey, sits reading near his window.

CUT TO:

EXT. MAGGIE'S HOUSE - NIGHT

Establishing.

INT. MAGGIE'S HOUSE - NIGHT

CLOSE ON:
A CASSETTE PLAYER. We see the familiar handwritten

label:
"Miles Davis." "Kind of Blue" plays as Maggie listens in

a chair, looking shell-shocked, surrounded by the post-its she

stole from Ike's room. We see as she reads them: "Father, two-

fisted drinker," "Peggy, best friend, but Peggy doesn't totally

trust Maggie," "Bob" -- doesn't love him. Overwhelmed, she

finishes reading the last note, leans back, puts her feet up on

the table, deep in the mood of the melancholy music.

The CAMERA MOVES on the last note on the floor next to her chair.

It reads:
"SHOWS NO REMORSE".

FADE TO BLACK.

FADE IN:

EXT. MAIN STREET/BEAUTY PARLOR - NEXT DAY

It's early morning. Mrs. Pressman hands Peggy a cup of coffee

to go. Peggy walks to the beauty parlor, unlocks the front door

and goes in.

INT. BEAUTY PARLOR - DAY

Peggy enters and starts about her opening duties. She turns on

the lights and turns and sees her friend, Maggie.

MAGGIE:

Do you think I flirt with Cory?

Peggy stops in her track. Maggie is sitting curled up in a salon

chair. She looks like she hasn't slept.

PEGGY:

Good morning to you, too. You look good.

MAGGIE:

Thank you. Do you think I flirt with

Cory?

PEGGY:

Yes.

Maggie looks miserable.

MAGGIE:

I don't mean it.

Peggy moves to the salon mirror near Maggie with her cup of

coffee.

PEGGY:

I know. I think sometimes you just

sort of spaz-out with random excess

flirtation energy and it just lands on

anything male that moves.

MAGGIE:

On anything male that moves? As

opposed to anything male that doesn't

move?

Peggy pours her coffee out of its Styrofoam cup into a ceramic mug.

PEGGY:

Like certain kinds of coral.

Peggy sits in the salon chair next to Maggie.

MAGGIE:

I'm going to kill myself.

PEGGY:

Why?

MAGGIE:

Because you think I'm all like... "Hey

man, check me out".

PEGGY:

(friendly)

No, I don't think you're like, "I'm

charming and mysterious in a way that

even I don't understand and something

about me is crying out for protection

from a big man like you". Very hard

to compete with. Especially to us

married women who have lost our mystery.

MAGGIE:

But you haven't lost your mystery!

You're very mysterious!

PEGGY:

No. I'm weird. Weird and mysterious

are two different things.

MAGGIE:

But I'm weird.

PEGGY:

No. You're quirky. Quirky and weird

are two different things.

MAGGIE:

Peggy, there's distinct possibility

that I might be profoundly and

irreversibly screwed up. Despite that,

I love you and I can promise that I

will no longer flirt with Cory, and I

beg your forgiveness.

Rate this script:1.5 / 2 votes