THE SESSIONS
(formerly The Surrogate)
Written by
Ben Lewin
Based On A True Story
EXT. BERKELEY, CALIFORNIA. DAY
1 1
SUBTITLE Berkeley, California -1981-
DISSOLVE TO ACTUAL TV NEWS FOOTAGE FROM 1981
A busy intersection near the UC Berkeley campus. A strange,
self-propelled motorized gurney whirrs into view and makes
its way over a pedestrian crosswalk. The passenger, MARK
O'BRIEN, in his early 30s, is visible only from the neck up.
The rest of him is covered by a blanket. He operates the
gurney with a mouth control and a set of mirrors positioned
around his head.
NEWS REPORTER (V.O.)
Mark O'Brien has been going to UC
Berkeley since 1978. That's O'Brien
in the motorized gurney heading for
class last week.
The gurney continues along a leafy promenade on the campus.
Passers-by just go about their normal business.
NEWS REPORTER (V.O.)
He had polio when he was 6 years
old. The disease left his body
crippled but his mind remained
sharp and alert, and since he
wanted to be a writer, Mark O'Brien
entered Cal to major in English and
learn his trade.
We hear a voice reciting a verse of poetry as we follow Mark
in his contraption.
MARK (V.O.)
Graduation
Today I hear the crowd's applause
Receive congratulations from my
friends
Today I ask if I've found a place
among the rest
I hope you see a man upon this
stage
Who studied...read..wrote, and
passed the test
In cap and gown, diploma on my
chair
THE SCENE CHANGES to the interior of a large auditorium. A
graduation ceremony is in progress. Suddenly, everyone in
the hall, GRADUATES, their FAMILIES, ACADEMICS and OTHERS,
rise to their feet as Mark, in his gurney, buzzes across the
stage, a mortar board hung on one of the handles.
1A.
NEWS REPORTER (V.O.)
And so, Mark O'Brien graduates from
Cal, one of 250 English majors to
receive degrees today.
2.
The DEAN steps forward, congratulates Mark and places a
diploma on his blanket. The gurney makes its way across the
rest of the stage to thunderous applause.
THE SCENE CHANGES BACK to the campus exterior. The news
reporter talks to camera.
NEWS REPORTER
If this report tells us anything,
it is that a disability is not
necessarily a handicap.
In the background, Mark's family and friends are gathered
round him in a jubilant mood.
NEWS REPORTER (CONT'D)
Mark O'Brien teaches us that
courage and perseverance overcome
obstacles.
With Mark O'Brien at UC Berkeley,
Bill Hillman, Channel Five
Eyewitness News.
END OF NEWS FOOTAGE
1A EXT. SAN FRANCISCO. NIGHT 1A
Classic shot of the illuminated Golden Gate Bridge.
SUPER CAPTION: "A FEW YEARS LATER"
EXT. STREET OUTSIDE MARK'S. NIGHT
2 2
It is about 4.00 a.m. All is quiet. We follow a mean-looking
alley cat to the front of a modest, ground-floor apartment.
It pauses, then slinks round the side, onto a ledge and in
through a partially-opened window.
INT. MARK'S PLACE. NIGHT
3 3
The cat comes through the window, hops onto the floor and
quickly finds a nice little plate of food scraps that has
been set out specially. As it settles down to its meal, we
become aware of a heavy and regular sound, like a ship's
pump, coming from somewhere close-by.
In the center of the room is an object that looks like a prop
from a `50s sci-fi movie. A human head protrudes from one
end. The object is an iron lung, and its purpose is to keep
its occupant, Mark O'Brien, breathing. Every 4.5 seconds, the
pump mechanism creates a vacuum inside, forcing Mark's chest
to expand and suck in air. He is fast asleep.
2A.
MARK (V.O.)
Breathing
Look you
This most excellent canopy, the
air,
Presses down upon me
At 15 pounds per square inch
A dense, heavy, blue-glowing ocean.
Teasing me with its nearness and
immensity.
And all I get is a thin stream of
it.
A finger's width of the rope that
ties me to life.
Having now eaten its fill, the cat has a good scratch, then
wanders over to the iron lung.
3.
It hops up onto the small platform that supports Mark's head
and slides itself along his face, once this way, once the
other way, then jumps on top of the iron lung and walks its
length. Through the portholes, we just make out the shape of
Mark's bent, undersize body. Suddenly, Mark's nose twitches.
He opens his eyes and grimaces.
MARK
Shit!
His face continues to contort as he tries to cope with the
terrible itching. He shakes his head violently, then stops
suddenly and closes his eyes. We hear his thoughts.
MARK (V.O.) (CONT'D)
Okay, just focus. Now, scratch
with your mind, okay, your mind,
scratch with your mind...
After a couple more nose twitches, he settles down. It seems
to have worked. In his peripheral vision, Mark can see the
cat making itself comfortable in a corner chair, one of the
only other pieces of furniture in the room. The first hints
of dawn start to appear through the curtains. They
illuminate a large framed portrait of the Virgin Mary hanging
on the wall. Mark acknowledges it.
MARK (CONT'D)
Good morning.
Sunlight streams in, making the picture look truly sacred.
EXT. MARK'S PLACE. DAY
4 4
JOAN, a solid but slovenly woman in her late 30s, walks up to
Mark's front door, takes a key from her purse and lets
herself in.
INT. MARK'S PLACE. DAY
5 5
She comes in.
JOAN
Good morning.
Mark does not immediately acknowledge her.
MARK
You're late.
A LITTLE LATER
The center of the iron lung, basically a thin mattress, has
been slid out, and Joan is in the process of giving Mark a
bed bath. He is frail and helpless.
4.
There is a look of resentment in his eyes as this apparently
unfeeling woman exercises total control over him, at least
temporarily.
MARK (V.O.)
Joan
I swear this was one crazy bitch
Who'd swing me about enough to
scare me,
But careful enough so she could
say:
"Now what was all the yelling
about? You polios are screamers.
Always were."
I didn't say a word, but typed my
skinny novel in my head,
And thought about revenge.
In the course of washing his private parts, Mark has an
involuntary erection. Joan gives him a shriveling look. He
feels belittled and humiliated.
A LITTLE LATER
Mark is on his side, his trousers are on and she is buttoning
up a bright red shirt. It is an awkward business. They do it
in silence, avoiding eye contact as much as possible.
EXT. STREET OUTSIDE MARK'S PLACE. DAY
6 6
Joan pushes Mark along in a gurney, similar, but slightly
different from the one in the news clip. There are no mirrors
and no motor, just an oxygen tank, a tube and a mouthpiece
just next to Mark's mouth. Most of him is covered with a
colorful blanket. The whole thing is a sports-coupe version
of his iron lung.
JOAN
Would you mind if I asked you a
favor?
MARK
You need help moving furniture?
She has no apparent sense of humor.
JOAN
I need an advance on my pay, like
two weeks. That's not a big ask, is
it?
Mark looks rightfully shocked.
MARK
What if you don't last another two
weeks?
4A.
He gives her a look, and means it. We hear his thoughts.
MARK (V.O.) (CONT'D)
Joan never failed to put me in a
crappy mood. It was also a drag
that I was no longer allowed to use
my other gurney, the self-propelled
one. It had caused a couple of
spectacular accidents.
They turn a corner and approach a church.
5.
MARK (V.O.) (CONT'D)
Basically, in spite of all the
mirrors, I couldn't see where I was
going.
6A EXT. CATHOLIC CHURCH. DAY 6A
Joan pushes Mark's gurney into the sanctuary.
INT. CATHOLIC CHURCH. DAY
7 7
FATHER BRENDAN is giving a sermon. Mark listens with
satisfaction. There are not many others there.
FATHER BRENDAN
The Apostle Luke tells us that when
Elizabeth spoke to Mary, the baby
in her womb leapt - "For lo, as
soon as the voice of thy salutation
sounded in mine ears, the babe
leaped in my womb for joy". So
Mary's fear and apprehension slowly
gave way to pride and purpose.
Elizabeth saw the greatness in
Mary. "Blessed art thou among
women". Elizabeth, pregnant herself
with St. John, felt the power of
this wondrous woman. It was
Elizabeth, and her absolute faith,
that gave Mary the courage she was
lacking, and she gave thanks
saying: "My soul doth magnify the
Lord, and my spirit hath rejoiced
in God my Saviour".
May the spirit of the Lord be
amongst you and remain with you
always.
Mass is over. PEOPLE come up to Mark and place a hand on his
head or chest and say, "God bless you." In the background we
can also hear Father Brendan.
FATHER BRENDAN (V.O.) (CONT'D)
May the peace of the Lord be with
you.
PARISHIONERS
And also with you.
A LITTLE LATER
5A.
7A INT. SIDE CHAPEL. DAY 7A
Mark waits alone in a tiny chapel off to the side of the
church. He turns his head, takes a suck on the mouthpiece of
his portable respirator, then looks around at the impressive
stained glass windows. The expression on Mark's face is that
of a true believer.
MARK (V.O.)
I'm definitely a true believer. But
I believe in a God with a sense of
humor. A wicked sense of humor. One
who created me in His own image.
Father Brendan enters. There is an awkward short moment when
he realizes that there is no point in offering to shake
hands. For no good reason, he nods instead.
FATHER BRENDAN
Hello. I'm Father Brendan. I don't
think we've met.
6.
MARK
No, we haven't. I'm Mark O'Brien. I
knew Father Seamus very well. I'm
sorry that he's not here any more.
FATHER BRENDAN
As are many others. I'm going to do
my best to fill his shoes. I
understand you'd like me to hear
your confession.
MARK
Yes, I would. By the way, I enjoyed
Mass. I liked your tone.
Father Brendan is not sure how to take this.
FATHER BRENDAN
Thank you.
MARK
You don't believe absolute privacy
is an essential part of the
confessional, do you?
FATHER BRENDAN
No, I do not. I believe sincerity
is the most essential part.
MARK
I told my attendant to come back in
half an hour. Is that okay?
FATHER BRENDAN
Yes, take your time. I'm in no
rush.
MARK
Did Father Seamus say anything to
you about me?
FATHER BRENDAN
No one said anything to me about
you.
MARK
I can be a bit time consuming, but
I'm worth the trouble.
Father Brendan breaks a smile for the first time.
FATHER BRENDAN
I'm here for you Mark.
7.
MARK
Look, this is not exactly a
confession. I haven't yet done the
deed. I was hoping to sort of get a
quote in advance.
Father Brendan sits down.
FATHER BRENDAN
Tell me what's on your mind.
MARK
The most immediate thing on my mind
would be my attendant, Joan. I'm
thinking of getting rid of her.
It's an evil thought, but I can't
help it.
FATHER BRENDAN
Is she dishonest, or incompetent?
MARK
No, neither of those. She looks at
me the wrong way. It's that you-
need-me-more-than-I-need-you look.
I'd like to show her she's wrong,
just for the evil satisfaction it
will give me. Is that a sin,
Father?
FATHER BRENDAN
Well, it obviously troubles you.
MARK
Yes, it troubles me a lot. Because
maybe it's really a power trip. Me
against her. Me against the world.
FATHER BRENDAN
I really wouldn't worry too much
about that. The question is whether
you like having her around.
MARK
I can't stand her.
FATHER BRENDAN
Then get rid of her. If I were in a
position to choose, I'd get someone
nice. Even it was a power trip.
MARK
Then I have your blessing to fire
her?
8.
FATHER BRENDAN
Unofficially, yes.
MARK
That's good enough for me.
FATHER BRENDAN
Please, if ever you feel I can be
useful, do let me know. It was a
pleasure talking with you.
MARK
Same here.
INT. MARK'S PLACE. DAY
8 8
We see a pencil eraser on the end of a stick slowly tapping
the keys on an electric typewriter. At the other end of the
stick, which is about a foot long, is Mark, manipulating it
adeptly with his mouth. There is a white index card in the
typewriter on which he is typing a job notice. We see the
first word. "POET"
EXT. BERKELEY COLLEGE. DAY
9 9
A community notice board. A young female hand reaches in and
takes an index card off the board. The card reads:
POET/JOURNALIST REQUIRES ASSISTANT WITH ADVANCED SENSE OF
HUMOR
We see Amanda's face as she smiles. She is in her early 20s.
MARK (V.O.)
Amanda would have been a pretty
girl to touch, to hold, to kiss, to
take to bed.
10 OMITTED 10
INT. MARK'S PLACE. DAY
11 11
Mark is in his iron lung. Amanda sits in a stiff chair a few
feet away, being interviewed. Rod is working in the kitchen.
Mark's poem continues.
9.
MARK (V.O.)
Her perfect, pale skin,
Her Tudor court face
Her strong, fleshy legs
Drove me into ecstasies of despair.
Mark asks a question.
MARK
Do you have any experience?
AMANDA
No, none at all.
MARK
That sounds perfect.
Mark stares at her lovingly.
INT. MARK'S PLACE. DAY
12 12
From Mark's POV, Amanda slides him out of the iron lung. It
is her first time, and it is an awkward business.
AMANDA
How long can you stay out?
MARK
Three or four hours. Depends
whether I'm having fun.
12A INT. MARK'S PLACE. 12A
DAY
It is some time later. Amanda is giving Mark a massage. With
enormous satisfaction, he feels her curvy parts moving around
him and sometimes pressing against him. He also gets a bird's
eye view of her breasts.
MARK (V.O.)
She'd count in French before
lifting me, un, deux, trois,
quatre! I'd scream
Tugged by her athletic arms
From the everlasting gravity.
EXT. PARK. DAY
14 14
Mark, on a blanket, is on an outing with Amanda, Matt and
another COUPLE. They are playing Scrabble.
9A.
MARK (V.O.)
She took me on a picnic once,
With her boyfriend and another
couple. Lust crackled in the air
between those twentyish people.
Amanda is clearly paying more attention to Mark than to Matt.
MARK (V.O.)
What did the boyfriend think?
That I was in his way?
I'm always in somebody's way, I
thought, the sun in my eyes.
10.
We sense Mark's deep satisfaction as he closes his eyes and
the sun warms his face.
MARK (V.O.)
As she glided through crowds of
lives She couldn't leave me lying
there Dried out bubble gum stuck on
the underneath of existence.
INT. BATHROOM. NIGHT
13 13
Amanda and her boyfriend MATT, are sharing the tub.
MATT
Do you touch him?
AMANDA
I do everything. Any other
questions?
MATT
You don't have to be so defensive.
I'm not about to get jealous.
AMANDA
Why not? He's a much nicer person
than you are.
She gets out of the bath suddenly.
INT. MARK'S PLACE. DAY
15 15
Amanda is shaving Mark.
MARK
What does your boyfriend think of
me?
AMANDA
He's an asshole. It doesn't matter
what he thinks of you.
MARK
I'm interested in the opinion of an
asshole.
AMANDA
He thinks you're some kind of
Svengali, and that you're going to
hypnotise me into your cult.
MARK
He's right.
11.
AMANDA
He says he can already see changes.
She finishes shaving him and cleans him up. His eyes feast on
every detail of her face.
Cut to somewhere at night, Amanda is giving Mark a pole
dancing demonstration, complete with disco beat and mirror-
ball lighting.
MARK (V.O.)
So with her gentle fearless heart
She took me in.
I thrived in her garden
And wanted more.
A16 EXT. STREET NEAR CLOTHING STORE. DAY A16
Amanda wheels Mark towards a clothing store.
INT. CLOTHING STORE. DAY
16 16
Amanda is wheeling Mark in his gurney around the store,
stopping from time to time to take something down from the
shelf. She picks out a shirt.
AMANDA
This you must have.
As she leans over to show it to him, Mark doesn't seem to be
listening. He whispers to her.
MARK
I love you.
She says nothing and gives the faintest of smiles, then puts
the shirt back. They continue round the store in thoughtful
silence and avoid eye contact with each other. We sense from
the looks on their faces that this moment spells the end of a
beautiful friendship.
17 OMITTED 17
INT. SIDE CHAPEL. DAY
18 18
Mark and Father Brendan are huddled together in the little
chapel.
FATHER BRENDAN
Did she reciprocate your feelings?
MARK
She didn't seem to.
11A.
FATHER BRENDAN
Sometimes people can be very shy
about their emotions.
12.
MARK
Well, in case she didn't get it the
first time, I told her again that I
was in love with her, and wanted to
marry her, thinking it might swing
things.
FATHER BRENDAN
Did it?
MARK
Yes. She left.
They sit in silence for a while. Father Brendan seems to be
at something of a loss.
FATHER BRENDAN
I wish I knew what to say. I mean,
welcome to the human race. Every
day someone breaks someone else's
heart. And as I said, I'm here for
you. I just wish I had something
more useful to offer. All I have
are these vague ideas about life
and death that priests are equipped
with. Have you ever thought of
discussing your feelings with a
therapist?
MARK
Not as yet. Father, I think I need
a hug.
After a moment of surprise, Father Brendan rises to the
occasion. He seems to know how to move Mark gently and
efficiently. They hug.
EXT. MARK'S PLACE. DAY
19 19
Rod is in the front yard picking up the newspaper. He sees
VERA, Chinese, mid-20s, a sensible type, approaching Mark's
front door.
ROD
Hi. Vera?
VERA
Yes.
He offers his hand.
13.
ROD
I'm Rod. I do four to twelve.
INT. MARK'S PLACE. DAY
20 20
Vera sits in the same spot where Amanda was interviewed, but
without the same aura, although she is far from ugly.
MARK
Have you had any experience?
VERA
Some.
She is reserved and unsmiling. Mark seems disinterested in
the whole process. The phone rings. They both look at it.
MARK
Would you get that, please.
Vera picks up the phone and answers a little hesitantly.
VERA
Hullo.
After a few moments, she turns to Mark.
VERA (CONT'D)
It's Sandy, from Pacific News
Service.
MARK
Could you press that button and put
it on the speakerphone.
She does as she is asked with perfect efficiency.
MARK (CONT'D)
Hi, Sandy.
SANDY (V.O.)
Hi, Mark, how you doing?
MARK
I'm good. I have a new attendant.
She answered the phone. Her name's
Vera.
SANDY (V.O.)
Welcome, Vera.
VERA
Thank you.
14.
SANDY (V.O.)
Mark, we've gotten sponsorships to
do a series on sex and the disabled
and we'd like you to do some
interviews in the Berkeley area.
Could you do that? Say in the next
week or so?
Mark is momentarily taken aback.
MARK
Why now?
SANDY (V.O.)
No particular reason. If you're
working on something else, then we
can talk about it later.
MARK
No, now is fine.
EXT. CARMEN'S DRIVEWAY. DAY
21 21
Vera wheels Mark towards his first interview. The more we see
Vera, the more we like her.
MARK (V.O.)
There was no denying it.
A door had opened which I could not
close, and in invisible writing it
said: "Do not enter".
INT. CARMEN'S PLACE. DAY
22 22
We see the slowly rotating reels of a portable cassette
recorder. We hear a female voice.
CARMEN (V.O.)
Some positions, like that one, are
pretty much impossible.
Carmen, early 30s, is a paraplegic in a wheelchair. She is
pretty and animated, and has full use of her hands.
CARMEN
I don't know if you can quite
visualize it. It's called a
lateral, or sideways reverse cow-
girl.
It is obvious that Mark cannot visualize it. Although she
doesn't give much away, we sense that Vera can.
14A.
CARMEN (CONT'D)
Don't worry about it then. It's
just a question of depth of
penetration.
(MORE)
15.
CARMEN (CONT'D)
To some people it's really
important, like my partner, for
example. It's not such a big deal
for me. I get just as excited when
he licks my nipples, if and when he
bothers to do it.
Mark looks troubled.
CARMEN (CONT'D)
I think the tape's about to run
out.
At that very moment, there is a click, and the tape runs out.
Vera flips the tape over, sets it running in record mode, and
takes her place again behind Mark's gurney.
CARMEN (CONT'D)
Do you want to keep going?
MARK
Uh, I think I've actually got
enough to work on. Thanks.
CARMEN
Get back to me if you need anything
else. Oh, and let me give you
Greg's phone number. He's full of
stuff you wouldn't think was
possible.
INT. MARK'S PLACE. DAY
23 23
Rod vacuums the floor while Mark taps away on his typewriter.
Mark looks troubled.
23A EXT. GREG'S PLACE. DAY 23A
We hear voices.
MARK (V.O.)
Okay, shall we start?
GREG (V.O.)
Sure.
We hear the cassette recorder click on.
23B INT. GREG'S PLACE. DAY 23B
Greg is a handsome quadriplegic. Vera is there with Mark.
16.
GREG
Oral sex is a matter of taste.
Mark doesn't get it. Vera, as usual, is impassive.
GREG (CONT'D)
And one thing that really works in
my favor is that I smoke so much
weed that my taste buds are pretty
jaded. This gives me a great deal
of stamina in the tongue
department, and stamina is key in
cunnilingus.
INT. MARK'S PLACE. NIGHT
24 24
The alley cat creeps in through the open window. Mark watches
it approach from his iron lung.
MARK
Who are these people? I feel like
an anthropologist interviewing a
tribe of headhunters.
The cat seems to understand.
EXT. UNIVERSITY ADMIN BUILDING. DAY
25 25
A lady with a crisp voice answers the phone.
LADY (V.O.)
Good morning. UCSF.
On the other end of the line, Mark tries to control the
shakiness of his voice.
MARK (V.O.)
Uh, may I please speak to someone
in the Center on Sexuality and
Disability, please.
A pause.
LADY (V.O.)
I'm sorry sir, the Center on
Sexuality and Disability has been
shut down.
INT. MARK'S PLACE. DAY
26 26
Mark looks immensely relieved. He closes his eyes.
17.
MARK
Thank God.
LADY (V.O.)
Sir?
MARK
I'm sorry to have bothered you.
LADY (V.O.)
It's no bother...Sir, before you
go, I can give you a phone number
for one of the therapists who used
to work there. Would you like that?
Mark hesitates. He winces under the strain of having to make
a decision.
LADY (V.O.)
Sir, are you there?
27 OMITTED 27
OMITTED
28 28
EXT. BUILDING. DAY
29 29
It is a typical, modern, multi-purpose office building. We
hear the sounds of grunting, bumping and clanging.
INT. LOBBY. DAY
30 30
There is something of a commotion going on at one of the
elevators. Vera, and a small, well-meaning CROWD, are trying
to get Mark and his gurney inside. It will not fit
horizontally. As they angle it up, Mark begins to panic.
MARK
It won't fit. It's not going to
fit. Let's go back.
A muscular LATINO guy reassures him.
LATINO
Hey, it's fine. We got you. This is
going to work just fine.
Vera guides him.
VERA
The top has to go over to the left.
17A.
MARK
I don't feel so good about this.
Let's forget it.
The Latino guy takes no notice. Vera is flushed and angry.
18.
VERA
Look, do you want to see this woman
or not?
MARK
No!
One more heave and the gurney goes in with a jolt.
MARK (CONT'D)
Aah!
VERA
Well, it's too late.
The elevator doors close.
INT. LAURA'S OFFICE. DAY
31 31
Laura, a well-dressed, attractive woman in her late 30s, sits
in a chair a few feet from Mark. His gurney takes up most of
the available space in the room.
LAURA
Did you ever discuss sex with your
parents?
MARK
No. That would have been
unthinkable.
LAURA
Why?
MARK
That's the way they saw the world.
It wasn't just that polite people
didn't think about sex. No-one did.
It was never discussed. As far as
they were concerned, there was
nothing down there.
Laura listens. She is pretty in a dark, angular way. A phone
on her desk rings.
LAURA
Sorry about that.
She walks over to it, pushes a button, then comes back. She
has a noticeable limp.
MARK
What's that from?
LAURA
Cerebral palsy.
19.
MARK
You'd hardly notice.
LAURA
People notice. It's not easy, the
whole thing, attracting a guy,
dating, sex, all very problematic.
MARK
I find that hard to believe in your
case.
LAURA
Well, you better believe it.
MARK
So, what sort of chance do you give
me?
LAURA
Of achieving your romantic fantasy?
Very small to minute.
MARK
Look, there's no need to pull any
punches. You can be as direct as
you like with me.
She smiles.
LAURA
Mark, I'm just a humble sex
therapist. I try to help people
with sex problems that can be
addressed. Your problem, I
understand, is that you have never
had sex.
MARK
That's correct.
LAURA
Would I be correct in assuming
you're unable to masturbate?
MARK
Correct.
LAURA
Has anyone done it for you?
MARK
No.
LAURA
Have you ever asked anyone?
20.
MARK
Not specifically. I asked someone
to marry me. She declined. Does
that come close to masturbation?
LAURA
You know, being with the person you
love is not the only way of
expressing yourself sexually. There
are people called sex surrogates.
MARK
Oh?
LAURA
Psychotherapists and psychiatrists
are not allowed to have sex with
their clients, even if it seems
like a good idea. Sex surrogates
don't have that limitation.
MARK
Would this be covered by my medical
benefits?
LAURA
Unfortunately, no. You'd have to
pay the full fee, whatever that
was.
MARK
So, basically, I would be paying
for sex.
LAURA
Yes Mark, you would be paying for
sex. But the person you would be
paying is not a hooker. She is a
highly trained and sensitive
professional, who is not motivated
by money. Just as I'm not. In fact,
you can think of a surrogate as an
extension of me. Do I seem like a
hooker to you?
Mark thinks.
31A OMITTED 31A
21.
31B INT. LAURA'S OFFICE. DAY 31B
Mark comes back to reality.
MARK
What sort of cost would I be
looking at?
LAURA
It depends how many sessions you
need.
MARK
Say, one, just to try it and see if
I like it.
LAURA
I'm sorry, it doesn't work that
way. It's a process. You have to be
patient with yourself. There can be
quite a lot of talking involved.
MARK
I've set aside $500. Do you think
that would cover things?
LAURA
Oh yes, that's ample. So, what do
you think?
22.
INT. CHURCH. DAY
32 32
Rod wheels Mark into the church.
INT. SIDE CHAPEL. DAY
33 33
Mark waits in the little side chapel. Father Brendan enters.
FATHER BRENDAN
Hi, good to see you. How are
things?
MARK
Things are sort of confusing at the
moment. I would appreciate your
advice, as a friend, if you know
what I mean.
Father Brendan sits down on the end of a pew next to Mark.
FATHER BRENDAN
Sure, and I understand what you
mean.
MARK
Do you remember at one point you
suggested I might see a therapist?
FATHER BRENDAN
Yes.
MARK
Well, one way or another, it's a
long story, I ended up seeing a
therapist, a particular sort of
therapist, a sex therapist.
FATHER BRENDAN
Uh-huh.
MARK
My penis speaks to me, Father
Brendan. Sometimes I ejaculate
during a bed bath in front of my
attendant.
(MORE)
23.
MARK (CONT'D)
All I feel is shame and
mortification, while other men,
apparently, get pleasure. I'm sorry
if I sound angry.
FATHER BRENDAN
Don't worry about it. Go on.
Mark pauses to take a few breaths on his oxygen mouthpiece,
then goes on.
MARK
This therapist suggested I could
work with a sexual specialist, have
sex with someone known as a sex
surrogate, who would be sensitive
to my special needs. I've been
giving it some thought.
Father Brendan interrupts him.
FATHER BRENDAN
Hold on. What do you mean "have
sex"?
MARK
Well, I don't really know how to
describe...
FATHER BRENDAN
Sorry, that wasn't what... I mean,
are we talking about sexual
intercourse?
MARK
I think so.
FATHER BRENDAN
Outside marriage?
MARK
I did do my best on the question of
marriage.
Father Brendan shakes his head with concern.
FATHER BRENDAN
What is the difference between this
sexual specialist and a common
prostitute?
MARK
I don't know, but I think there's a
difference.
23A.
FATHER BRENDAN
How do you know she's not some
hooker gussied up as a social
worker, who's just going to rob
you?
MARK
I trust what my therapist said
about her.
FATHER BRENDAN
How old are you?
MARK
Thirty-eight.
FATHER BRENDAN
Why exactly now?
MARK
I never had any spare cash before.
That's a major factor, and I'm
probably getting close to my use-by
date.
FATHER BRENDAN
And this is what you want my advice
about? Fornication?
MARK
Your advice as a friend.
FATHER BRENDAN
And do I have the casting vote, so
to speak?
MARK
Let's say I value your advice just
as much as I do the therapist's.
FATHER BRENDAN
You're serious, aren't you?
MARK
I think sex is a serious matter.
It's one of the most persistent
themes in the bible.
(MORE)
24.
MARK (CONT'D)
So, is it possible for me to know a
woman, in the biblical sense, and
do I want to find out?
FATHER BRENDAN
And you want my opinion?
MARK
Please.
Father Brendan contemplates for a few moments. He looks up at
the statue of Jesus, then makes a decision.
FATHER BRENDAN
I know in my heart that He'll give
you a free pass on this one. Go for
it.
MARK
What?
FATHER BRENDAN
I said, go for it.
MARK
Really?
FATHER BRENDAN
If you feel up to it. Do you feel
up to it?
MARK
To tell the truth, I'm scared.
FATHER BRENDAN
Then we should pray.
Father Brendan and Mark pray together.
FATHER BRENDAN (CONT'D)
Sweet Jesus, Mark and I sit at your
feet and pray that You bless this
little journey, this one small step
for a man.
34 OMITTED 34
35 OMITTED 35
25.
36 OMITTED 36
37 OMITTED 37
37A OMITTED 37A
EXT. STREET NEAR CARMEN'S. DAY
38 38
ROD is wheeling Mark along in his gurney.
MARK
I really feel proud of myself,
imposing on someone I hardly know,
to fornicate in their home.
ROD
Get over it. It's perfectly normal.
They arrive at CARMEN'S PLACE.
26.
INT. CARMEN'S PLACE. DAY
39 39
Carmen, in her electric wheelchair, is the woman Mark had
earlier interviewed. She pushes a button on a remote control,
which opens concertina double-doors, which reveal an adjacent
bedroom.
CARMEN
Tada!
The bed itself is set at a perfect height for someone in a
wheelchair or gurney. The room has been decked out with
flowers, candles and incense.
MARK
Wow!
Carmen points to the bedside table.
CARMEN
There are all sorts of useful
things in that drawer there, if you
guys feel like exploring.
Mark doesn't even begin to get it.
MARK
No, I'll bring my own sheets,
towels and anything else we need.
CARMEN
No, no. Everything will be
provided. I'm honored that you
asked me. It'll be great karma for
the house.
EXT. STREET NEAR CARMEN'S. DAY
40 40
Rod is wheeling Mark back home.
MARK
Great karma for the house. My God,
the pressure, already. I can't
stand it.
41 OMITTED 41
42 OMITTED 42
27.
43 OMITTED 43
EXT. STREET. DAY
44 44
We are outside an old-style wooden house with a Volvo wagon
parked in front. A phone rings.
INT. CHERYL'S KITCHEN. DAY
45 45
We hear the sound of sneakers on a wood floor. TONY, an
adolescent with a pony tail picks up the phone.
TONY
Hey, this is Tony.
He listens, then looks away from the phone and shouts.
TONY (CONT'D)
Cheryl!
CHERYL (V.O.)
What is it?
TONY
Phone!
He talks into the mouthpiece.
TONY (CONT'D)
She's coming.
CHERYL arrives. She is in her mid-30s. She grabs the phone,
puts her hand over the mouthpiece and glares at Tony.
CHERYL
I'm not your girlfriend. When
someone calls, particularly someone
you don't know, you can use the
word 'Mom'.
28.
Tony glares back. Cheryl takes off her right earring.
CHERYL (CONT'D)
Hullo, this is Cheryl.
LAURA (V.O.)
Hi, it's Laura.
CHERYL
I haven't heard from you in a
while. How are you?
LAURA (V.O.)
Pretty well. Look, I called to ask
how you would feel about working
with a severely disabled client.
Suddenly, Cheryl notices that Tony has opened the
refrigerator and is drinking straight out of the orange juice
bottle.
CHERYL
Hold on a moment, please.
She covers the mouthpiece of the phone.
CHERYL (CONT'D)
Hey, cut that out!
He takes no notice. She puts the phone down and moves towards
him. He closes the fridge door and runs.
INT. MARK'S PLACE. DAY
46 46
Mark is having a bed bath. His shoulders and neck are covered
with soap suds. Rod is washing his back. The phone rings.
MARK
Would you get it please?
ROD
Sure.
Rod eases Mark back onto the rubber mattress and goes to
answer the phone.
ROD (CONT'D)
Hullo, Mark O'Brien's phone.
He switches it to speaker so Mark can hear.
CHERYL (V.O.)
Hi, this is Cheryl Cohen-Greene.
May I speak to Mark?
29.
Rod holds the phone toward Mark like a question. Mark's face
looks drained of blood.
ROD
Just one moment, please.
Rod switches the phone off speaker.
ROD (CONT'D)
What am I doing here? Yes or no?
Make up your mind.
Mark hesitates, then nods weakly. Rod puts the phone back on
speaker.
MARK
Hullo, this is Mark.
CHERYL (V.O.)
Hi, Mark. I'm Cheryl. Laura called
to introduce you. I understand
you'd like to meet. Is that right?
Mark can hardly speak. He eventually forces the sound from
his throat.
MARK
Uh, yes.
CHERYL (V.O.)
I could see you on the seventeenth,
at eleven o'clock. Would that be
any good for you?
MARK
Uh, yes, I think that would be fine
for me.
CHERYL
Hey, where you from?
MARK
Boston. You?
CHERYL
Salem. Small world.
MARK
Wouldn't want to paint it.
INT. CHERYL'S KITCHEN. DAY
47 47
Cheryl is on the phone, holding the receiver with one hand
while she puts away groceries with the other.
29A.
CHERYL
We'll be talking for a while to
begin with. Then, if you agree, we
can also start doing some body
awareness exercises in your first
session.
INT. MARK'S PLACE. NIGHT
48 48
The iron lung pumps away. Mark is alone. He stares at the
picture of the Virgin Mary.
30.
MARK
Holy Mother of God, what are "body
awareness exercises"?
EXT. STREET OUTSIDE MARK'S PLACE. DAY
49 49
Vera lets herself in.
INT. MARK'S PLACE. DAY
50 50
Vera holds up two shirts for Mark to see, a dark red and a
light blue.
VERA
Which one?
Mark is lying on his side, shirtless. His face is even more
grim than when we last saw it.
MARK
Doesn't matter.
VERA
Will you stop acting as if you're
going to your own execution.
MARK
I'm not acting.
EXT. CARMEN'S DRIVEWAY. DAY
51 51
Vera wheels Mark to his doom.
VERA
Try and think of something else.
Baseball, for example. That's what
they usually tell boys to do.
MARK
Who are "they"?
Vera rings the front doorbell. They wait.
MARK (CONT'D)
She's forgotten.
Vera says nothing. She rings the bell again.
MARK (CONT'D)
My God, she's forgotten, or she's
gotten the date wrong. Okay, we
might as well turn round and go
back. Come on, let's go.
30A.
VERA
She hasn't forgotten.
From inside the house, we hear the faint buzz of an electric
wheelchair approaching. The door opens. Mark closes his eyes
in despair.
52 OMITTED 52
31.
INT. CARMEN'S PLACE. DAY
53 53
Vera eases Mark onto the bed, positioning him so that he can
see the doorway. As a finishing touch, she dabs a little
cologne behind his ears, then puts the mouthpiece of his
respirator within easy reach.
Carmen picks up her bag and wheels herself to the door.
CARMEN
Okay, I'm going. I'll be back some
time after one. If I'm not here,
just let yourselves out.
VERA
Bye.
MARK
(weakly)
Bye.
CARMEN
Have fun.
She lets herself out.
MARK
What's the time?
VERA
Twelve after eleven.
MARK
I think there's a strong
possibility she's had second
thoughts.
VERA
Mark, please calm down.
MARK
And if she does arrive, she would
be perfectly within her rights to
turn around and run.
32.
The doorbell rings. They stare at the door. Vera finally goes
over and opens it. Silhouetted against the light is Cheryl
with a substantial bag. She could be the Avon lady. She has a
light blouse, light skirt and her long hair is loose.
CHERYL
Hi, I'm Cheryl. I'm sorry I'm late.
VERA
No, that's fine. Come in. I'm Vera,
I'm one of Mark's helpers.
Cheryl sees Mark. There is no noticeable reaction in her
face, just a smile.
CHERYL
Hi, Mark O'Brien.
Mark clears his throat with a little difficulty.
MARK
Hi, Cheryl Cohen Greene.
Vera is already at the front door.
VERA
I'll be back, say, in two hours?
CHERYL
Yes, two hours, that would be
perfect.
She closes the door behind her. Mark feels totally abandoned.
CHERYL (CONT'D)
So...
Mark blurts out.
MARK
Your money's on the dresser.
Cheryl walks over to the dresser. When her back is turned,
Mark screws up his face in self-disgust. She finds an
envelope.
CHERYL
Thank you.
She puts it in her bag. Mark eyes her carefully.
MARK
That was the wrong way to start
off.
33.
CHERYL
Yes, it was. Shall we start again?
MARK
Please, you start.
She sits down on the bed and looks at him. It is a very
frank stare. She is trying to take a lot in.
CHERYL
Although the aim is for us to have
sex, I'm not a prostitute and you
don't need to pay me up front. I've
nothing against prostitutes, but
there's a difference. We can talk
about that later.
MARK
I'm sorry.
CHERYL
The other thing is, there is a
limit to the number of sessions we
can have together. Did Laura
mention that when you saw her?
MARK
I'm sorry, I don't remember.
CHERYL
The limit is six. But that gives us
plenty of opportunity to explore.
Now, I understand you are able to
have an erection.
MARK
Yes, but not out of choice.
CHERYL
Do you know how many men there are
on this planet who would give
anything for a natural erection?
She looks around the room.
CHERYL (CONT'D)
Is this your place?
MARK
No, it's a friend's. The only
bedroom furniture I have at my
place is an iron lung. I've
sometimes thought about buying a
futon, in case the need arose.
CHERYL
It's worth thinking about.
34.
MARK
I've got the space. It can be
expensive though, a nice futon. I
mean, how much do you think a good
one would cost?
CHERYL
Mark, just take a deep breath, then
let go.
MARK
Do I seem anxious?
CHERYL
You do a little.
Cheryl lies down beside him.
CHERYL (CONT'D)
Laura told me you were a poet.
What's it like to be a poet?
MARK
It's a way of living inside your
own head, which is where I spend
most of my time.
CHERYL
But not today. By the way, I like
your shirt.
He smiles, genuinely flattered.
MARK
Thank you.
CHERYL
So I need to ask you some basic
questions. Okay?
MARK
Sure.
CHERYL
What is the iron lung for?
MARK
It keeps me breathing. I can spend
a few hours outside of it, with my
portable respirator, depending on
how I feel. But I work and sleep in
the iron lung.
34A.
CHERYL
How do you feel right now?
35.
MARK
Out of my league.
CHERYL
I meant your breathing.
MARK
Oh...fine. In fact, better than
usual.
CHERYL
That's great. Do you have any areas
of unusual sensitivity? Any parts
of your body you don't want me to
touch?
MARK
I have normal sensitivity all over.
It's just that my muscles don't
work. You can touch me anywhere.
CHERYL
Shall we get undressed then?
Mark is taken by surprise by the suddenness of it. He
hesitates momentarily.
MARK
Sure.
Cheryl starts to unbutton his shirt. Mark's terror is visible
in his eyes and she can also feel his heart palpitating. She
starts to slowly extract one of Mark's arms from his shirt-
sleeve. Suddenly, he lets out a piercing scream.
MARK (CONT'D)
Ow! Ow! Stop! It hurts!
She recoils, shocked.
CHERYL
What's wrong?
MARK
Holy Mother of God!
CHERYL
Tell me what's wrong.
MARK
My fingers! They're caught!
She discovers that his fingers have been snagged in the
fabric of the shirt and his fingers are being bent backward.
36.
CHERYL
Okay, okay, I've got it. Don't
worry.
She carefully frees his fingers and eases the sleeve off.
MARK
Be careful, please.
CHERYL
Mark, I'm going to be really
careful with you. I don't want to
hurt or injure you in any way, but
it's really not sexy when you yell
at me. Okay?
MARK
I won't yell at you any more.
CHERYL
But you'll tell me calmly the
moment anything starts to hurt?
MARK
Yes.
CHERYL
Now, let's do the other arm.
Little by little, she extracts the other arm. He grimaces his
way through it, but more in fear than in pain. She finally
sets his shirt down on the end of the bed.
CHERYL (CONT'D)
Nice shirt.
MARK
You already said that.
CHERYL
Did I? I guess I'm a little
anxious, too.
She undoes the top of his pants.
CHERYL (CONT'D)
Okay, I'm going to slide these
down. Hold your breath.
She pulls. He screams, in fear more than pain.
MARK
Shit, fuck! No, don't do that!
36A.
INT. BATHROOM. DAY
54 54
Cheryl sits down on the edge of the tub and takes a couple of
deep breaths.
37.
INT. CARMEN'S PLACE. DAY
55 55
Mark, his body now under the sheets, looks towards the
bathroom door. He can hear the sound of water running. He
looks at a wall clock and notes the passing of time.
INT. BATHROOM. DAY
56 56
Cheryl turns off the tap. She has done a great job of pulling
herself together, and is wrapped in a kimono, which she has
brought herself.
INT. CARMEN'S PLACE. DAY
57 57
Cheryl emerges from the bathroom and starts to undress.
CHERYL
Ready?
MARK
No.
Cheryl continues undressing, Mark looks away.
CHERYL
Okay, the difference between me and
a prostitute is that I don't want
your return business. I'm here to
help you communicate about your
sexual feelings, so you can share
them with a future partner.
She stands there for a few moments, but he keeps his eyes
averted. She turns back the sheets, gets into bed beside him
and he finally looks at her.
MARK
Whenever I'm naked, everyone else
in the room is usually dressed. Now
that I'm in bed with another naked
person, I'm very confused.
She strokes his hair.
CHERYL
So, why is it confusing?
MARK
I'd always expected that God, or my
parents, would intervene to keep
this moment from happening.
She slides her hand down. She can feel his heart thumping.
37A.
CHERYL
Mark, close your eyes and focus on
your sense of touch.
He closes his eyes.
CHERYL (CONT'D)
I'd like you to tell me how it
feels each time I touch a different
part of your body. If something
feels good, tell me. If something
feels ticklish or bothers you, let
me know. I don't want you to
tolerate anything. I'm going to
start with the top of your head...
She strokes his hair.
CHERYL (CONT'D)
You have soft hair. It's nice to
the touch. So you like it?
MARK
I do.
She moves her fingers round behind his ear, then the front of
his ear.
MARK (CONT'D)
That feels weird.
CHERYL
Weird good? Or weird bad?
MARK
Just weird.
She moves her hand down his neck.
MARK (CONT'D)
Good.
His shoulder.
CHERYL
Still good?
MARK
Everything good so far, except the
ear.
She moves her fingers along his side, very, very lightly. For
Mark, so far, this is the best.
37B.
MARK (CONT'D)
Are these the body awareness
exercises?
38.
CHERYL
You're clever to have worked that
out.
Her hands massage their way down his torso. Mark's reactions
are a little like shock waves.
MARK
People tell me I'm very perceptive.
CHERYL
Would you like to see what I feel
like?
She carefully takes his hand and caresses the fingers around
one of her breasts, then puts his hand back.
Cheryl's hands move further down his body.
CHERYL (CONT'D)
Are you wearing cologne?
MARK
Yes.
CHERYL
Mmm, my favorite brand. Okay, I'm
going to move my hand along your
stomach... and down to your pen...
The expression on Mark's face changes to one of shock, then
agony, then ecstasy.
MARK
Oh, oh.
58 OMITTED 58
INT. CARMEN'S PLACE. DAY
59 59
The clock on the mantelpiece says 12:48. Cheryl is now fully
dressed. She snaps open her briefcase, takes out a diary with
a pen attached, then walks over to the bed, sits down beside
Mark and flips through the pages.
CHERYL
Next week, Friday the twentieth,
same time?
MARK
That's good for me.
39.
CHERYL
Next time we'll start to work on
intercourse.
She gathers her things together and gets up.
CHERYL (CONT'D)
Were you afraid at the thought of
seeing me?
MARK
I was terrified.
CHERYL
You can be proud of yourself. You
did great. We've made real
progress.
MARK
Can I ask you something?
CHERYL
Of course. What would you like to
ask?
MARK
Anything, really. Tell me something
about yourself. Anything.
CHERYL
Sure. I'm a very private person. I
have a private life, I do need you
to be aware of that, but that's
about it. This therapy is about
you.
There is a discreet knock at the front door and then a key
turns in the lock. A few moments later, Carmen and Vera come
in.
MARK
Welcome back.
CHERYL
Perfect timing.
CARMEN
I hope you guys kept the noise
down.
EXT. STREET NEAR CARMEN'S. DAY
60 60
Vera wheels Mark back the way they came. She is very discreet
and they travel in silence for a while. Finally, curiosity
overcomes her.
40.
VERA
How do you feel?
MARK
Cleansed and victorious.
VERA
Doesn't get any better than that.
MARK
Tell me about your first sexual
experience.
VERA
Let me think. It wasn't all that
pleasant. I mean, it was consensual
and everything, and I really was in
love with the guy, but his dick
seemed enormous to me, I didn't
think it would fit. It was scary.
But he was nice. I guess he
couldn't help it.
MARK
Was he Chinese?
VERA
Are you kidding? I only hung out
with white guys at high school.
MARK
Why is that?
VERA
I don't know. To stick it to my mum
and dad, I suppose.
MARK
Are they happy now you've got a
Chinese boyfriend?
VERA
They're happy. I'm happy.
MARK
What's his dick like?
VERA
Perfect size.
MARK
Why do you call it a dick instead
of a penis?
41.
VERA
Penis sounds like some vegetable
you don't want to eat. Dick sounds
like what it is.
They continue in silence for a little while.
MARK
The thing is, it was all over so
damn quickly.
VERA
Yes, tell me about it.
EXT. CHERYL'S PLACE. NIGHT
61 61
Cheryl's car is parked outside. The house is mostly dark.
INT. CHERYL'S PLACE. NIGHT
62 62
Cheryl is at a tiny desk, dictating into a recorder.
CHERYL
First session. Mark is the oldest
of four children and raised
Catholic. He was extremely nervous.
He yelled a lot when I took off his
shirt, but I think more out of fear
than pain. He cannot masturbate.
Has only had the occasional kissing
experience. He is capable of
achieving an erection easily, but
the unusual curvature of his body
could be a serious obstacle to
intercourse.
She puts the recorder away in a file drawer and locks the
drawer with a key, which she keeps with her.
INT. CHERYL'S BEDROOM. NIGHT
63 63
Cheryl gets into bed beside her husband JOSH, who is
apparently asleep.
CHERYL
This gentleman I just started
working with. He spends most of his
life trapped in a big metal box.
Her husband Josh turns over and mumbles something completely
incomprehensible. She nudges him.
CHERYL (CONT'D)
Did you hear what I said?
42.
JOSH
Yes, I heard what you said. You're
a saint.
He kisses her.
CHERYL
Don't forget to put the trash out
in the morning.
She turns around and goes to sleep.
INT. SIDE CHAPEL. DAY
64 64
Mark is in the little side chapel with Father Brendan.
MARK
I don't know what I had envisaged
it would be like, the first time I
mean. But that wasn't the image I
had. I thought there would be more
to it. Not that it was unpleasant.
After all, I was in bed with a
naked woman. She complimented me on
my shirt and my hair. She held my
penis. I haven't even seen my penis
for over thirty years. Anyway,
onward. Am I sharing too much?
FATHER BRENDAN
No, I'm used to it.
INT. MARK'S PLACE. NIGHT
65 65
Mark is in his iron lung. With his mouth stick, he turns the
page of one of those anatomical instruction books on sex.
There are the typical graphic cross-section diagrams of
penises entering vaginas. Ravel's "Bolero" plays quietly in
the background as he reads to himself.
MARK
"Sometimes the head of the penis
may be too large to penetrate the
vaginal opening smoothly, in which
case the application of lubricant
is recommended to avoid
possible..." Oh, my God!
EXT. STREET OUTSIDE MARK'S PLACE. DAY
66 66
This time Rod is wheeling Mark. He seems only slightly less
anxious than the first time, but still noticeably anxious.
ROD
What's on the menu today?
43.
MARK
We're attempting intercourse.
ROD
Uh-huh. That's a big one.
MARK
What do you think of it?
Intercourse.
ROD
Overrated, but necessary. There's
plenty of other ways of achieving
the same result, but somehow you
don't feel you've actually done it
till you've gone all the way in.
This does not help Mark's state of mind.
67 OMITTED 67
INT. CARMEN'S PLACE. DAY
68 68
Cheryl takes off her clothes.
CHERYL
I want you to look at me this time.
Go on, lift your eyes, look at me.
He lifts his eyes. She pauses.
CHERYL (CONT'D)
Do you like watching me undress?
MARK
I do.
As she moves towards the bed, almost naked, the last thing
she takes off is her bra.
CHERYL
From now on...
She pulls back the bed covers and gets into bed with Mark.
CHERYL (CONT'D)
You're going to start to understand
the signals from your body...
Their bodies touch. He looks blissful.
CHERYL (CONT'D)
...and learn how to control...
Then suddenly...
43A.
MARK
Oh God! Oh God!
Mark's expression of bliss turns to one of anger and
frustration.
44.
MARK (CONT'D)
Damn! Shit!
INT. SIDE CHAPEL. DAY
69 69
Mark is in the side chapel with Father Brendan.
MARK
I did it again. This time, I
ejaculated on her thigh.
Father Brendan winces.
MARK (CONT'D)
I felt cursed, that the whole
enterprise was cursed. It seemed
like a totally just punishment. God
wasn't actually denying my
sexuality. He was merely pointing
out to me how useless it was.
FATHER BRENDAN
It's amazing to me how often God is
brought into the sex act. I
understand that even amongst non-
believers, the most common
expression of sexual ecstasy is
"Oh, God!"
70 OMITTED 70
71 OMITTED 71
INT. CARMEN'S PLACE. DAY
72 72
Cheryl returns from the bathroom and slides back into bed.
CHERYL
Okay, I don't want to hear any more
about God cursing you. I want the
credit. It was my overpowering
beauty that did it. It took you by
surprise. Now, where were we?
MARK
What do you mean, where were we?
CHERYL
I'm going to touch you... I'm
touching you... and when we both
feel you're aroused, then I'm going
to guide you into my vagina.
MARK
Is there anything I need to do?
45.
CHERYL
Close your eyes, feel your body,
that's all you need to do.
Mark closes his eyes. In his mind's eye, he sees the saintly
figures in the beautiful stained glass windows of the church
with the afternoon sun blazing through. An equally saintly,
but naked Amanda floats towards him, her arms beckoning.
When he opens his eyes, Cheryl is straddling him, but in a
Leaning Tower of Pisa sort of way. It is a struggle for her,
but somehow she is managing to get Mark into a workable
position for intercourse. Suddenly, he panics.
MARK
It won't fit. It's not going to
fit.
CHERYL
No, Mark, it will fit just fine.
MARK
No, it's dangerous. It's too big.
CHERYL
It's not too big. Relax.
MARK
It won't fit. It'll hurt. It's too
risky.
CHERYL
Please, stop this. I promise you,
nothing bad will happen. Now, let's
try again while you're still hard.
She attempts to guide him in again. Mark grimaces, makes a
strange noise. We realize that he has just ejaculated again
involuntarily.
MARK
Shit!
INT. BATHROOM. DAY
73 73
Cheryl steps out of the shower.
INT. CARMEN'S PLACE. DAY
74 74
Cheryl gets into bed.
MARK
I'm really sorry.
46.
CHERYL
Stop being sorry. And stop reading
those stupid sex manuals.
She snuggles up beside Mark.
CHERYL (CONT'D)
We still have some time. We can
talk, which you seem to like, or
you can suck on my nipples, which
you also seem to like. Or, which
one would you like to do first?
Gradually, Mark is reassured.
EXT. CHERYL'S PLACE. NIGHT
75 75
Cheryl's Volvo is parked in its usual spot out front. There
is one light on in the house.
INT. CHERYL'S PLACE. NIGHT
76 76
Cheryl is at her desk, dictating her notes. She also has a
notepad with some jottings.
CHERYL
Mark seemed to be at his most
relaxed when I sucked his penis. At
the moment he is fixated on penis-
vagina and his anxiety is focused
around that. The root of his
anxiety is his parents and his
religion. He believes he doesn't
deserve sex. He believes he is
responsible for his little sister's
death at the age of seven, because
his mother was too busy looking
after him.
INT. LAURA'S OFFICE. DAY
77 77
A copy of Cheryl's notes comes through on Laura's fax
machine. We hear her familiar limp as she comes over to
collect them. She reads the notes with interest.
CHERYL (V.O.)
We discussed his fantasies. They
are mostly masochistic.
(MORE)
47.
CHERYL (V.O.) (CONT'D)
Again, the idea of being punished.
He has never seen female genitalia
before and seems quite frightened
by the idea.
INT. SIDE CHAPEL. DAY
78 78
Mark and Father Brendan are in the little chapel.
MARK
I'm sorry to lay all this on you,
Father. My worry now is that it's
never going to happen. I'm never
going to have intercourse with
Cheryl, or any other woman. Maybe
intercourse would prove I was an
adult. Maybe I don't want to cross
that line. Maybe this was a bad
idea.
FATHER BRENDAN
Do you want to know what I think?
MARK
Please.
FATHER BRENDAN
I'd forget the psychobabble. I grew
up on a farm. It even takes the
animals a few times to get it
right. Can I suggest you try and
enjoy it more? Don't worry about
the technical stuff. You're a poet.
Be romantic.
EXT. CLOTHING STORE. DAY
79 79
Vera wheels Mark and his gurney to a rack in front of the
store. She takes shirts and models them for Mark. He settles
on a daring but beautiful silk shirt. A man in a pink unitard
rides by on a unicycle.
80 OMITTED 80
INT. MARK'S PLACE. DAY
81 81
Vera carefully does up the buttons on Mark's new silk shirt.
Mark looks thoughtful.
VERA
You nervous?
MARK
Only a little.
48.
VERA
Would you like a shpritz?
MARK
Yes, of course I would.
Vera gets a bottle of cologne and gives Mark a couple of
bursts behind the ears.
MARK (CONT'D)
I have a good feeling about today,
a very good feeling.
VERA
Great.
MARK
I had a terrible feeling it was
never going to happen, but I think
today's the day.
VERA
Can I make a suggestion?
MARK
Please.
VERA
Stop thinking about it.
82 OMITTED 82
EXT. CARMEN'S DRIVEWAY. DAY
83 83
Vera wheels Mark up to the front door.
MARK
You couldn't have wished for nicer
weather.
VERA
You're not listening, are you? I
said, stop thinking about it.
MARK
Beautiful weather.
She steps up to ring the bell, then hesitates. There is
something of a hubbub coming from inside. Both she and Mark
can hear it clearly.
49.
INT. CARMEN'S PLACE. DAY
84 84
The doorbell rings, amidst a loud background chatter. We
reveal a ROOMFUL OF WOMEN, gathered for some intense group
activity of some kind. Carmen buzzes her way to the front
door in her wheelchair. She opens it. She has an expression
of horror.
CARMEN
Oh, my God, I forgot! Oh, Mark, I'm
so sorry.
The entire roomful of women stare at Mark and Vera. In the
background we see Cheryl's car pull up.
EXT. CARMEN'S PLACE. DAY
85 85
Cheryl, Mark and Vera are by the car. Mark looks grim.
VERA
She was very apologetic.
They are all shaking their heads. Cheryl has a thought.
CHERYL
Look, it may not be exactly what we
had in mind, but I noticed there's
quite a nice motel just a couple of
blocks from here. Maybe it's worth
checking out.
INT. MOTEL RECEPTION. DAY
86 86
Mark and Cheryl wait outside while Vera goes in.
VERA
Have you got anything on the ground
floor?
The MOTEL CLERK is also Chinese. He looks at the rack of
keys.
CLERK
I've got a single.
VERA
How much?
CLERK
Thirty-five plus tax.
VERA
My boss is the gentleman in the
gurney.
(MORE)
50.
VERA (CONT'D)
He's supposed to be having a
therapy session right now, but the
facility we normally use had a
scheduling mix-up. We only need the
room for two hours. Can you do it
for twenty cash?
EXT. MOTEL. DAY
87 87
The clerk leads them to the room and opens the door.
CLERK
There's a soda machine around the
corner.
MARK
Thanks.
CLERK
And an ice machine, if you need it.
MARK
I'm sure it'll come in handy.
INT. MOTEL ROOM. DAY
88 88
Cheryl, Vera and the gurney enter the room. The clerk watches
in the background. Cheryl and Vera lower Mark onto the bed.
Allowing for the gurney, there is not a lot of space left in
the room.
VERA
Okay, I'll see you. I've got a book
to read. I'll just hang around the
reception if you need me.
Vera leaves. Mark looks around.
MARK
Very atmospheric.
CHERYL
Some people find motels exciting.
MARK
Do you think I could be one of
those people?
She sits on the bed and starts to undo his shirt.
CHERYL
Another nice shirt.
MARK
As in racy and sophisticated?
51.
CHERYL
You took the words right out of my
mouth.
INT. MOTEL RECEPTION. DAY
89 89
Vera is having coffee with the clerk.
CLERK
What's wrong with your boss?
VERA
Basically, he can only move his
head.
CLERK
So what sort of therapy are they
doing?
VERA
They're having sex.
CLERK
You're bullshitting me.
VERA
Okay, I'm bullshitting you.
CLERK
No, tell me for real, what are they
actually doing?
VERA
Well, today, after some appropriate
foreplay, they're going to try to
achieve full penetration.
The clerk stares at her.
INT. MOTEL ROOM. DAY
90 90
We see Cheryl from the breasts up. We hear violent coughing
from down below.
MARK (V.O.)
I'm choking
Cheryl moves away. We realize she has been perched astride
his face, more or less. The coughing continues. Mark looks a
bit panicked.
MARK
The mouth-piece.
52.
Cheryl locates the mouth-piece to his oxygen supply and puts
it between his lips. After a few breaths he is relatively
relaxed. She lies down beside him.
CHERYL
I guess that one's off the menu
until further notice.
Mark finally lets go of the mouth-piece. He looks melancholy.
She does not fail to notice.
CHERYL (CONT'D)
Come on, lighten up, will you.
Mark smiles. He seems to be lost in some memory.
MARK
Pony girl, Pony girl,
Won't you be my pony girl?
He looks at Cheryl.
MARK (CONT'D)
That was what my father used to
sing to my little sister, Karin.
That was before she died. She was
kind of a sad little girl. It
didn't do much good. I'm really
sorry that the last time I saw her,
I fought with her. I made her cry.
Mark's eyes begin to look teary.
MARK (CONT'D)
My parents could have left me in
the nursing home, you know. They
found out the average life
expectancy for polios in nursing
homes was 18 months. So they took
me home. They gave me a life.
Cheryl props herself up on one elbow.
CHERYL
Mark, I'm just going to go the
bathroom for a quick pee. When I
come back, we're going to achieve
full penetration. But before I go,
I want you to close your eyes.
MARK
Is this a game?
CHERYL
No, it's not a game. Just do as I
say. Close your eyes.
53.
He closes his eyes.
CHERYL (CONT'D)
Picture yourself as a six year old
boy at the beach. Can you do that?
MARK
Yes, very easily.
EXT. BEACH. DAY
91 91
The scene has a hazy, dreamlike reality. We see the six-year
old Mark, able-bodied and full of energy, running and playing
in the sand with his dog.
INT. MOTEL ROOM. DAY
92 92
CHERYL
Describe some of your feelings.
MARK
I feel very exhilarated, running
next to the Atlantic Ocean, feeling
the wind and the wet sand between
my toes.
CHERYL
Do you really feel like him?
MARK
Yes, I really feel like him.
CHERYL
But can you really picture him?
MARK
I don't understand what you mean. I
said I can feel like him. Of course
I can picture him.
CHERYL
From the outside, I mean, as an
adult, as you are now, looking at
him with his crew cut and his
little face?
MARK
Yes.
CHERYL
And are you mad at him? Do you
blame him for getting polio? Was it
his fault?
53A.
Cheryl gets up and goes to the bathroom. Mark is obviously
affected by her question.
54.
INT. SIDE CHAPEL. DAY
93 93
Mark has a faraway look.
MARK
She either forgot to close the
bathroom door, or didn't bother to
close it.
Mark pauses as he hears some distant footsteps. Father
Brendan looks over his shoulder. They finally pass. Mark
continues.
MARK (CONT'D)
I found the sound of her peeing
incredibly erotic, and the sound of
her tearing off toilet paper
incredibly intimate. By the time
she came back I had a terrific
boner.
INT. MOTEL ROOM. DAY
94 94
Cheryl gets herself into position on top of Mark.
CHERYL
I'm going to rub the tip of your
cock around my vulva. When it's
ready, I'll guide you in. Breathe
slowly and think of something
delicious.
Mark thinks. Through his mind's eye, we see a succession of
images. Fingertips stroking a cat's fur. In the background,
the sound of tom-toms. A tribal initiation rite. Drums,
dancing, trances. Then Ravel's "Bolero". Clint Eastwood
saying "make my day". Suddenly, and with a big yell, Mark
comes.
MARK
Aahh!
INT. MOTEL RECEPTION. DAY
95 95
Vera is still there, reading her book. The clerk looks at his
watch.
CLERK
They've been in there a long time.
VERA
Yes, some people can do that.
He does not get it.
55.
CLERK
Do you want another coffee?
VERA
No thanks.
CLERK
Do you live with your parents?
VERA
No.
CLERK
You at Berkeley?
VERA
Uh-huh.
CLERK
Doing what?
VERA
Architecture.
CLERK
You have a boyfriend?
VERA
Yes. Do you?
INT. MOTEL ROOM. DAY
96 96
Mark and Cheryl are lying together. He has his eyes closed.
There is something on her mind.
CHERYL
You awake?
56.
MARK
Uh-huh.
CHERYL
To answer your earlier question, I
grew up in Salem, brought up
Catholic, like you, but the church
didn't appreciate my attitude
towards sex.
MARK
You had an attitude towards sex?
CHERYL
Yes, I liked it. They like to think
they threw me out, but I threw them
out. So for years I didn't believe
in anything, and now I'm converting
to Judaism.
MARK
I guess it's good to have some kind
of insurance.
CHERYL
I didn't think of that.
MARK
Then why are you doing it?
CHERYL
My husband asked me to do it before
his grandmother dies. The idea is,
if it makes her happy and him
happy, then it will do the same for
me. Our son is neutral on the
subject, but theoretically, if it
looks like it makes me happy, it'll
make him happy too. That's the way
my husband's family talks, and
thinks. The fact that I'm happy
already, doesn't seem to be
relevant.
MARK
What's your son's name?
CHERYL
Tony. He's 14 years-old and very
smart. You'd like him.
Cheryl and Mark lie together in contented silence for a
while.
MARK
Does he know what you do?
56A.
CHERYL
He knows I'm a sex therapist.
There's a certificate on the wall.
But he hasn't had sex yet. So...
How much can he really know? He's
not a boy, he's not a man.
MARK
How much do you want him to know?
CHERYL
Well, I want him to have some idea
in his head. I hope it's a nice
one.
57.
MARK
What does your husband do?
CHERYL
He's a philosopher.
MARK
Wow! You mean, like, at a
university?
CHERYL
No, in his own mind. He runs the
house, plays guitar, thinks a lot.
She notices the time.
CHERYL (CONT'D)
It's kind of late.
She gets up and starts to get dressed.
CHERYL (CONT'D)
Hey, we did really good stuff
today. You were fantastic. You're a
fully fledged male homo sapiens
endowed with a handsome and
substantial penis which now has a
proven track record. You should be
pleased.
MARK
Was I really inside you?
CHERYL
You were really and truly inside
me.
MARK
For how long?
CHERYL
Five or six seconds.
MARK
Is that all?
CHERYL
That's a long time for some people.
You were pretty excited. I don't
know what you were thinking about.
MARK
I'm sorry, I couldn't tell one
thing from another. It was all a
jumble of sensations.
58.
CHERYL
Well, you definitely achieved
penetration. It was penis-vagina
all the way. And you definitely get
an A for orgasm.
She is ready to go. She comes over to Mark and kisses him on
the cheek.
MARK
Did you come?
CHERYL
No, Mark, I didn't.
MARK
Can we try for that next time?
She hesitates for a moment.
CHERYL
If that's what you want.
MARK
Yes, that's what I want.
CHERYL
Okay then.
INT. LAURA'S OFFICE. DAY
97 97
Laura is on the phone to Cheryl.
LAURA
How's it going?
INT. CHERYL'S PLACE. DAY
98 98
Cheryl is at her desk.
CHERYL
He reads too many books. He has it
in his head that after meeting
three times, we should be able to
have penetrative sex which results
in simultaneous orgasm. Boom! Just
like that.
INT. LAURA'S OFFICE. DAY
99 99
LAURA
That's very funny.
59.
INT. CHERYL'S PLACE. DAY
100 100
CHERYL
I guess. Yes, it is.
LAURA (V.O.)
What do you think of him?
Cheryl thinks.
INT. LAURA'S OFFICE. DAY
101 101
LAURA
I said, what do you think of him?
CHERYL (V.O.)
I like him.
EXT. STREET OUTSIDE MARK'S PLACE. NIGHT
102 102
Father Brendan approaches and arrives at the front door. He
rings. Rod lets him in.
INT. MARK'S PLACE. NIGHT
103 103
Mark is in his iron lung. Father Brendan, wearing civilian
clothes, comes in with a 6 pack of beer.
FATHER BRENDAN
I was in the neighborhood. How are
you?
MARK
Still exhausted.
FATHER BRENDAN
So, on reflection, are you...
Fulfilled?
MARK
It was okay. I liked some of the
other things just as much, or
better, but I'm glad it's behind
me.
FATHER BRENDAN
Well, so am I. Congratulations.
60.
MARK
When this is all over, I'm going to
write an article about it. After
all, sex sells. Seriously.
FATHER BRENDAN
So you're really doing this for the
money.
MARK
Absolutely.
FATHER BRENDAN
Well, that makes me feel much
better about the whole thing. Can I
ask what she's like? Cheryl. You've
never really said anything about
her.
MARK
She's the most wonderful person on
the planet. I'm glad we finally had
intercourse, because now I realize
that everything I do with her feels
just great.
EXT. CHERYL'S PLACE. NIGHT
104 104
As usual, Cheryl's car is out front.
105 OMITTED 105
INT. BEDROOM. NIGHT
106 106
Cheryl crawls into bed beside Josh. She lies there with her
eyes wide open, unable to sleep, her mind full of thoughts.
Although she has not yet noticed, Josh is also awake.
JOSH
What's on your mind?
CHERYL
Oh, nothing.
JOSH
Don't believe you.
CHERYL
Okay, I've been thinking about the
whole conversion thing.
61.
JOSH
Still don't believe you.
CHERYL
Then, whatever it is, I guess I'm
not in the mood for talking.
JOSH
What sort of mood are you in?
CHERYL
Another sort of mood.
They get into the business.
INT. MARK'S PLACE. DAY
107 107
Mark is also awake, staring at nothing, his mind full of
thoughts. As a distraction, he eventually turns and looks at
the picture of the Virgin Mary.
MARK
So, what do you think?
INT. CHERYL'S PLACE. DAY
108 108
The phone rings. We hear footsteps approaching. Cheryl
answers it.
CHERYL
Hullo, this is Cheryl.
She smiles.
CHERYL (CONT'D)
Mark?
INT. MARK'S PLACE. DAY
109 109
Mark is in his iron lung.
MARK
Can we meet somewhere for a coffee?
Somewhere nice. My treat.
INT. CHERYL'S PLACE. DAY
110 110
CHERYL
I don't normally meet with clients
outside of working hours, you know
that.
61A.
INT. MARK'S PLACE. DAY
111 111
MARK
How could you possibly describe
anything to do with me as normal?
INT. CHERYL'S PLACE. DAY
112 112
MARK (V.O.)
We don't have to talk about
business.
62.
Cheryl smiles.
EXT. CAFE. DAY
113 113
A WAITER approaches Cheryl and Mark with two beautifully made
cups of coffee. One of them has a straw accompanying it. He
sets them down. Mark looks up at the waiter.
MARK
Could you put my cup right on the
edge of the table there, and stick
the straw in my mouth, please?
WAITER
Sure.
The waiter does exactly as asked.
WAITER (CONT'D)
Is that okay?
MARK
Perfect.
WAITER
Sir, I'd wait a couple of minutes.
That coffee is pretty hot.
MARK
Thanks.
WAITER
You're welcome.
The waiter leaves. Mark and Cheryl look at each other.
CHERYL
So, what shall we talk about?
MARK
We don't have to do much talking.
Cheryl smiles at him. She is looking gorgeous today.
CHERYL
Then why are we here?
MARK
I just want to be seen with you in
public. I find that as sexy as
anything we've done so far.
He sips on his coffee and soaks her in with his eyes.
62A.
CHERYL
I'm glad you enjoy looking, after
all.
MARK
I want people to say "Who's the guy
with the blonde? How did he get so
lucky?"
CHERYL
Or so rich.
MARK
Okay, if some old girlfriend from
school you hadn't seen for years
turned up suddenly, like right now,
how would you introduce me? As your
boyfriend?
CHERYL
No, as my husband. Why not go all
the way.
MARK
Really?
CHERYL
Does that shock you?
MARK
Yes.
CHERYL
Then I guess it would shock her as
well.
MARK
Who?
CHERYL
My old school friend that's going
to come along any moment.
MARK
You really can picture me as
husband material?
CHERYL
As long as we're pretending, sure.
MARK
Would you write down your address
for me, please?
62B.
113A OMITTED 113A
63.
EXT. CHERYL'S PLACE. DAY
114 114
Josh walks unhurriedly to the letter box at the front gate
and collects the mail. As he flips through the envelopes, he
stops at one which is addressed to Cheryl, sniffs it, then
opens it. It contains a sheet of paper on which is typed what
seems to be a poem. He reads it with interest, which develops
into mild shock.
INT. CHERYL'S PLACE. DAY
115 115
Cheryl and Josh are in the kitchen, arguing.
JOSH
You said yourself, it's not
supposed to get personal.
CHERYL
That's another thing altogether.
What I want to know is where do you
get off opening my mail?
JOSH
It was scented. I assumed it was
just junk mail.
CHERYL
Even less reason to open it. Where
is it? Give it to me.
JOSH
You're not getting it.
CHERYL
This is absolutely none of your
fucking business.
JOSH
You're still not getting it. I
threw it out.
CHERYL
You didn't.
JOSH
I fucking did.
Tony arrives home from school. As he comes in, his parents
fall silent. He realizes he has walked in on an argument. He
looks at both of them.
64.
TONY
What's up?
A LITTLE LATER. The three of them are sitting round the
dining table eating dinner in total silence. The hostility
between Cheryl and Josh is palpable. When Josh finally does
speak, he addresses Tony.
JOSH
Would you please ask your mother to
pass the salt?
TONY
Cheryl, would you please pass the
salt?
Cheryl glares at Tony and goes on with her meal.
INT. CHERYL'S PLACE. NIGHT
116 116
Cheryl is at the dining table, with her recorder and file in
front of her, plus a late-night snack.
CHERYL
Mark appears to be indulging in
typical transference behaviour.
This is not unusual after first
successful intercourse, but I think
he is especially susceptible. He
cannot help seeing me as the multi-
functional, all-purpose woman,
mother, sister, schoolmistress,
whore, lover and best friend. At
the same time, his anxiety about
sexual performance has diminished.
INT. BEDROOM. NIGHT
117 117
Josh crawls into bed with Cheryl. She is still awake. He
snuggles up to her.
JOSH
I'm sorry. I really upset you
before.
CHERYL
No, you didn't. I'm fine.
JOSH
You sure?
CHERYL
Yes, I promise.
JOSH
Really?
64A.
CHERYL
Yes, I've come around to your point
of view. You were right. You're
generally right about these things.
JOSH
It was quite a nice poem. I mean,
nothing astounding, but heartfelt,
at least.
CHERYL
Josh, I need to go to sleep.
Everything's good.
JOSH
Okay. Good night.
They kiss.
65.
INT. CHERYL'S PLACE. NIGHT
118 118
Cheryl rummages around in the kitchen garbage. She finds
nothing. She storms off to the laundry, flings open a
cupboard, pokes around and comes up with a flashlight.
EXT. CHERYL'S BACK YARD. NIGHT
119 119
Cheryl makes her way to the end of the yard. Holding the
flashlight between her teeth, she rummages around in the
outdoor trash bin. Finally, she finds what she is looking
for. An envelope. She takes the poem out of the envelope and
reads it.
CHERYL
Let me touch you with my words.
For my hands lie limp as empty
gloves.
She goes over to the back steps, sits down and continues
reading.
She puts it back in the envelope and walks back inside the
house. She is visibly affected.
120 OMITTED 120
66.
121 OMITTED 121
EXT. STREET OUTSIDE MARK'S PLACE. DAY
122 122
From behind, we see Vera wheeling Mark in his gurney. ANOTHER
FEMALE FIGURE creeps up beside Vera and whispers in her ear,
all unbeknownst to Mark. The other female figure takes over
from Vera, who trails along, a few feet behind. Mark remains
unaware. He has a new and different-looking shirt, even more
out there than the previous one?
MARK
Do you think she'll like the shirt?
AMANDA
I like it. Does that count?
Mark can barely believe it.
MARK
Amanda?
EXT. PARK. DAY
123 123
They are stopped at a park bench. Vera is hovering in the
background, out of earshot.
MARK
It's been a while.
AMANDA
I know. I'm sorry. I'm going to
Germany. I wanted to say goodbye to
you before I left.
MARK
Why are you going to Germany?
AMANDA
To study German.
67.
MARK
For how long?
AMANDA
One or two years maybe. But we
should keep in touch.
MARK
But why go to Germany? It's the
only place in the world where humor
is actually forbidden.
She laughs, then smiles quietly, then touches him.
AMANDA
You could always make me laugh. I
love you, Mark. I really do.
Mark's face is a picture of anguish and confusion.
MARK
Really?
INT. SIDE CHAPEL. DAY
124 124
MARK
Yes, I love you, but not in that
way. I love you, but I'm not in
love with you. Blah, blah, blah.
You know how it goes.
Mark lets out a deep, meaningful sigh. For a time, he and
Father Brendan maintain a respectful silence.
EXT. PARK. DAY
125 125
AMANDA
I think it's great what you're
doing with this surrogate lady.
She leans over and kisses Mark on the lips.
MARK
It could have been you.
AMANDA
It could have been, but it wasn't.
INT. SIDE CHAPEL. DAY
126 126
MARK
I had this faint hope that she
would show the merest hint of
jealousy. It shows you how na�ve I
am.
(MORE)
68.
MARK (CONT'D)
The fact that I was no longer a
virgin, that I was a `made man', so
to speak, made no difference to her
at all.
EXT. MOTEL. DAY
127 127
Cheryl's car is in the parking lot. We see her draw the
blinds.
INT. MOTEL RECEPTION. DAY
128 128
Clerk takes two beers from a mini-bar and hands one to Vera.
VERA
Thanks.
CLERK
You want to go out some time?
VERA
No, I don't think so.
CLERK
What, your boyfriend?
VERA
No.
CLERK
Your parents?
VERA
No, I'm busy, that's all. What's
wrong with this, anyway? We're
having a nice time, aren't we?
CLERK
It's okay.
VERA
Or do you have things to do? I can
go for a walk if you're busy and
come back later.
CLERK
No, no, stay. Is this going to be a
regular thing?
VERA
What?
CLERK
The therapy.
69.
VERA
I don't know. I'm not the
therapist.
CLERK
What sort of a therapist is she,
really?
VERA
I told you the first time, she's a
sex therapist.
The clerk looks at her closely. She appears to have a
completely straight face.
VERA (CONT'D)
Today they're working on
simultaneous orgasm.
CLERK
What's that?
INT. MOTEL ROOM. DAY
129 129
Mark and Cheryl are in bed, their faces close.
MARK
Boy, am I glad to see you.
CHERYL
Don't you say that to all the
girls?
MARK
Yes, but I always mean it.
They kiss. Then Cheryl's head slides down and disappears from
view.
CHERYL (V.O.)
Remember about the breathing.
Concentrate on breathing out rather
than in. Think of anything neutral.
Sky, water, trees, ships, music,
nothing too dramatic.
Mark closes his eyes.
INT. SIDE CHAPEL. DAY
130 130
MARK
The first time, I really didn't
know what was going on. Technically
it all happened, but nothing really
happened in my head.
(MORE)
70-71.
MARK (CONT'D)
This time it did, and my head has
never experienced anything like it
before. Of course, I ignored
Cheryl's advice about having
neutral thoughts.
INT. SOMEWHERE. NIGHT
131 131
Amanda is giving Mark a pole dancing demonstration, complete
with disco beat and mirror-ball lighting.
132 OMITTED 132
INT. MOTEL ROOM. DAY
133 133
Mark opens his eyes and looks up at Cheryl. She seems divine.
His excitement increases. We hear the change in his
breathing. Also in her breathing.
INT. SIDE CHAPEL. DAY
134 134
The expression of elation on Mark's face morphs dramatically
into something else.
MARK
Then afterwards, there was this
moment, this glimpse of an awful
sadness to come.
Father Brendan closes his eyes and nods knowingly.
135 OMITTED 135
136 OMITTED 136
72.
EXT. CHERYL'S PLACE. NIGHT
137 137
The Volvo is parked out front. The envelope is still on the
dash.
73.
INT. CHERYL'S PLACE. NIGHT
138 138
Cheryl is dictating.
CHERYL
Mark achieved an erection as soon
as I started to suck on him. He did
the controlled breathing, as I had
suggested, and I was able to get on
top and guide him in quite easily.
INT. MOTEL ROOM. DAY
139 139
We see Mark's face from Cheryl's POV. His eyes are still
closed.
MARK
Is it in? Is it really in?
CHERYL
Yes, it's really in.
We hear Mark's thoughts.
MARK (V.0.)
I couldn't believe it.
We hear the sound of typing.
INT. MARK'S PLACE. DAY
140 140
Mark is in his iron lung, typing. At the top of the page, we
can see the title of the piece:
"On Seeing a Sex Surrogate" Page 8.
MARK (V.O.)
I was finally there. Too soon, I
came. But she kept holding me
inside her. Then a look of pleasure
brushed lightly over her face...
INT. MOTEL ROOM. DAY
141 141
We see Cheryl's face from Mark's POV. It is as beatific as we
have ever seen it.
MARK (V.O.)
... as though an all-day itch were
finally being scratched. Letting me
go, she put her hands down on the
bed by my shoulders and kissed my
chest. This act of affection moved
me deeply.
74.
Cheryl's actions follow Mark's description.
INT. SIDE CHAPEL. DAY
142 142
Mark is with Father Brendan.
MARK
I almost wept. No-one had ever
kissed me there before. It was so
unexpected and so natural.
INT. MOTEL ROOM. DAY
143 143
Cheryl's lips move away from Mark's chest. She kisses him on
the lips, light and lingering. As soon as there is enough
space between them, he whispers to her.
MARK
I love you.
She whispers back.
CHERYL
I love you, too.
MARK
Did you come?
CHERYL
Yes.
INT. CHERYL'S PLACE. NIGHT
144 144
Cheryl continues dictating.
CHERYL
Mark is breathing well and learning
to pace himself. There is no real
physical impediment to a variety of
sexual activities, given the right
sort of partner. His deeper
emotional needs are outside the
scope of my potential involvement.
Cheryl pauses, then goes on.
CHERYL (CONT'D)
As anticipated, this was the final
session.
Tony appears. He seems to have some understanding of what is
going on. He and Cheryl hug.
INT. MOTEL ROOM. DAY
145 145
They are still in the same intimate position.
75.
MARK
What happens when...
CHERYL
What happens when what?
MARK
When people become attached to each
other.
CHERYL
What people?
MARK
Just people. What's the chemistry
of it all? When people are
attracted to each other.
CHERYL
Are you attracted to me?
MARK
We're just talking hypothetically.
CHERYL
Hypothetically, they write poems,
they have sex.
MARK
And what happens next?
CHERYL
After poetry and sex? Nothing or
everything. The rest is by
negotiation, as it were.
MARK
What do you mean?
CHERYL
I mean, you can just leave it at
love and attraction, or you can
make things complicated. As most
people do.
MARK
Have you?
CHERYL
Oh, yes.
76.
77.
INT. MOTEL RECEPTION. DAY
146 146
The clerk looks bored. Vera looks at the time. She seems a
little anxious.
VERA
Can I use that phone to call the
room?
CLERK
Sure.
78.
147 OMITTED 147
148 OMITTED 148
INT. MOTEL ROOM. DAY
149 149
The phone rings, Cheryl picks it up.
LATER
Cheryl, already dressed, is getting Mark dressed. She does up
every button of his shirt lovingly.
CHERYL
What shall we do next time? Any
requests?
Mark doesn't answer.
CHERYL (CONT'D)
Mark?
MARK
I'm thinking.
She finishes buttoning him up in silence. A strange feeling,
a kind of chill that Cheryl senses, pervades the atmosphere.
MARK (CONT'D)
We have two sessions left, is that
correct?
CHERYL
That's right. Or...
MARK
Or, what?
CHERYL
Or, we could stop now.
MARK
You mean, make this the last
session?
CHERYL
Yes.
79.
There is a pregnant pause.
MARK
What do you think we should do?
CHERYL
It's not we, it's you, Mark. It's
up to you.
MARK
I want to know how you feel.
CHERYL
That doesn't come in to it.
MARK
Yes, it does. I don't just write
poems to anyone.
CHERYL
Mark, what do you want me to say?
How much I was touched by that? How
special this has been to me? Is
that going to help you? No, it's
going to make things worse.
MARK
You mean to say, come the sixth
session that will be it?
CHERYL
Yes, that will be it. I explained
that the first time we met.
Mark has a serious and painful moment.
CHERYL (CONT'D)
I'm sorry. If it's any consolation,
it's also hard for me to think
about it.
MARK
Then maybe we should pull the plug
now.
CHERYL
I think maybe we should. It's only
going to get harder. I guess you
might as well save the money. Maybe
buy yourself a nice futon.
A LITTLE LATER.
80.
Cheryl is getting dressed. Mark watches pensively. She pauses
and looks at him. He keeps a brave face. There is a knock on
the door.
CHERYL (CONT'D)
Just a moment.
She and Mark make eye contact for the last time. They manage
to smile at each other.
MARK (V.O.)
I desperately wanted to feel that
because of Cheryl, my life had
changed. But it hadn't.
Apart from her usual things, she is also carrying a long
mirror.
CHERYL
Bye, Mark
MARK (V.O.)
Bye.
As Cheryl goes out, Vera comes in.
VERA
Everything all right?
CHERYL
He did great. See you. I'm sorry,
I have to run.
VERA
See you.
Vera walks in and closes the door behind her.
EXT. MOTEL ROOM. DAY
150 150
Cheryl goes to her car and opens the trunk. As she is putting
the mirror inside, the Chinese clerk, who is showing a COUPLE
to their room, gives her an odd look. Cheryl takes no notice,
gets in her car and starts the engine.
Just then, Vera runs up and taps on her window. The window
winds down. Vera hands Cheryl an envelope with money in it.
At first, Cheryl just looks at it, then realizes what it is.
VERA
You forgot this.
Cheryl smiles.
81.
CHERYL
I knew there was a reason I came
here today.
Vera waves goodbye as she goes and Cheryl sits contemplating
the envelope in her lap. Then she tosses it onto the dash and
drives away.
EXT. STREET OUTSIDE MARK'S PLACE. DAY
151 151
Vera wheels Mark home. They travel in silence.
INT. SIDE CHAPEL. DAY
152 152
Father Brendan and Mark are together in the chapel.
MARK
I felt I'd just been through a
ceremony that I didn't know the
meaning of. I kept thinking, is
that all there is? Just an empty
hole at the end of it? A bigger
hole than there was before?
FATHER BRENDAN
I'm sorry Mark, you can't always
trust your feelings. You've
achieved a great thing. It may take
you a while to realize that.
Time passes.
INT. MARK'S PLACE. NIGHT
153 153
It is a moonlit night. On the opposite wall from the Virgin
Mary is a picture of Amanda and Mark. Mark lies in his iron
lung staring at it.
MARK (V.O.)
I wrote letters to Amanda in
Germany.
Five, six pages long
A year passed,
Heard nothing.
Was it my fault?
Of course it was.
But the guilt isn't enough to patch
over the rage.
I pound the insides of my mind with
words, such puny fists,
And nobody hears.
82.
The poem ends and we hear instead a RADIO BROADCAST of a
Giants' game. Mark is engrossed. Suddenly the broadcast
stops. The digital read-out on the clock radio, which says
12:57, disappears. A street light, visible through the
window, goes out. The electric pump under Mark's iron lung
whirrs to a halt. We hear the sound of air escaping, then an
eerie silence. Even the cat is motionless.
For a few moments, Mark seems hypnotized. Then, he twists his
head and clamps onto his mouth stick. He manoeuvres it over
to the speaker button on the phone and manages to press it in
the semi-darkness. We hear a dial tone.
INT. ROD'S BEDROOM. NIGHT
154 154
There is an answering machine on a bedside table.
ROD'S VOICE
Hi, this is Rod. Leave a message,
or not.
MARK (V.O.)
Rod, it's Mark. I need help. The
power's gone out, including the
pump on the iron lung. I'd say I've
got about three hours before I
start to turn blue. I hope you get
this in time.
INT. MARK'S PLACE. NIGHT
155 155
Mark winces in frustration.
MARK
Okay... nine-one-one.
He swings the mouth stick over to the 9 button. As he presses
it, he loses his grip and the mouth stick falls to the floor.
MARK (CONT'D)
Shit!
At first, he seems panicky, but after a few moments he begins
to control his breathing and gradually psyches himself into a
strange calm.
MARK (CONT'D)
So this is how it ends.
Time passes. We see Mark from a high angle. More time passes.
We see Mark's face as he slips into unconsciousness.
83.
INT. MIKVAH (JEWISH RITUAL BATH-HOUSE). DAY
156 156
Cheryl enters the room wrapped in a white, terry cloth robe.
The room is dominated by a small, beautifully tiled immersion
pool with a hand rail and steps. The MIKVAH LADY gets up from
her chair and approaches her.
MIKVAH LADY
Is this your first time?
CHERYL
Yes, it is. I'm converting.
She takes off her robe and hands it to the Mikvah Lady, who
does not fail to notice Cheryl's body.
MIKVAH LADY
So, what do you do?
Cheryl closes her eyes and thinks for a moment.
CHERYL
I don't think you'd understand.
MIKVAH LADY
You can try me.
CHERYL
Okay. I'm a housewife.
MIKVAH LADY
Why shouldn't I understand?
CHERYL
I guess I was mistaken.
Cheryl steps towards the pool.
MIKVAH LADY
I see you're very comfortable with
being naked.
She takes hold of the rail and puts her foot in the water.
CHERYL
That has never been one of my
problems.
MIKVAH LADY
Sometimes new brides come with
their mothers. Do I have to take
this off? Can I please leave this
on? They've never been naked
before. No honey, it all has to
come off.
84.
CHERYL
And it does?
Cheryl takes another step into the water.
MIKVAH LADY
And it does. They stand on the edge
of that pool without anything to
cling to but themselves. Nothing to
hide behind. This is your body.
This is the body that God crafted
for you.
Cheryl immerses herself up to her chest.
MIKVAH LADY (CONT'D)
Immerse completely. Go completely
under the water, without touching
the walls or anything.
She immerses completely. We see her under the water. She
hears a voice in the distance, her own voice. At the same
time, there is a look of elation in her eyes.
CHERYL (V.O.)
Okay Mark, you can open your eyes
now.
INT. MOTEL ROOM. DAY
157 157
Mark is on the bed alone. He opens his eyes.
CHERYL (V.O.)
This is your body.
A few feet in front of Mark, Cheryl is holding a full-length
mirror. The angle is such that he can see all of himself. He
is mesmerized by his own image. Flashes of light from the
mirror flicker over his face.
MARK (V.O.)
So this is the body that someone
was able to love. Not quite as bad
as I thought.
INT. HOSPITAL CORRIDOR. DAY
158 158
Overhead fluorescent lights flash by, as we observe the
ceiling from Mark's point of view. We also hear the sound of
rapidly rolling rubber wheels, and a voice.
VOICE
Mark, can you hear me? Open your
eyes.
85.
INT. HOSPITAL. DAY
159 159
Mark is in a regular hospital bed, with a temporary plastic
cocoon over him in place of his iron lung. There is a
volunteer called SUSAN in the room with him.
SUSAN
They'll be letting you go today.
Whoever looks after you will leave
the portable respirator switched on
at night, fully charged, so you'll
have at least one back-up system.
MARK
How close was I?
SUSAN
To what?
MARK
You know, to that tunnel thing and
the light, and the voice saying
don't go near the light.
SUSAN
Is that what you remember?
MARK
No. I assume I passed out. Before
that, I remember feeling sorry for
myself.
SUSAN
Do you feel relieved now?
MARK
No. I mean, I'm relieved that Rod
got to me in time, but I still feel
sorry for myself.
SUSAN
I'm sure there's a cure for that.
Would you like to talk to someone?
MARK
I feel comfortable talking to you.
SUSAN
I'm only a volunteer, not a
therapist. I can refer you to
someone if you like.
Mark breaks into a broad smile, then a chuckle.
86.
MARK
I'm sorry, I don't mean to be rude.
I'm just smiling at the idea that a
therapist could do anything useful
for me right now. My priest
couldn't.
SUSAN
Are you religious?
MARK
Yes. I would find it absolutely
intolerable not to be able to blame
someone for all this. Are you?
SUSAN
No, I don't go to any church and I
don't think about God very much.
But I believe there's a mysterious
logic, or poetry to life. I guess
that makes me a spiritual type.
MARK
Yes, that would count.
SUSAN
Would you like me to visit you?
MARK
Are you married?
SUSAN
No.
MARK
Do you have a steady boyfriend?
SUSAN
No.
MARK
Then please visit as often as you
can.
EXT. HOSPITAL. DAY
160 160
She smiles. Mark is loaded into an ambulance.
SUSAN
Bye. Take care.
MARK
There's just one more thing I want
to tell you.
87.
She gets into the ambulance and squats down next to him.
MARK (CONT'D)
I'm not a virgin.
She looks genuinely pleased to hear it.
SUSAN
So, are you in a relationship at
the moment?
MARK
No, it was a passing thing.
The driver is ready to shut the doors.
SUSAN
Thanks for sharing that with me.
She gets out of the ambulance and waves.
INT. AMBULANCE. DAY
161 161
Mark is accompanied by an AMBULANCE OFFICER. We see clear
blue sky through the back windows. The sun shines in and
warms Mark's face. He closes his eyes in contentment.
AMBULANCE OFFICER
Nice day, isn't it?
MARK
The best.
AMBULANCE OFFICER
Good to be alive, huh?
EXT. HOSPITAL. DAY
162 162
We see the disappearing figure of Susan from the point of
view of the departing ambulance.
MARK (V.O.)
I met Susan five years before I
died. She was the love of my life.
We had the same priorities,
baseball pretty much came first,
and we wrote each other mushy
poems. I never expected it, nor did
she, but that's often the way
things turn out.
INT. MARK'S PLACE. DAY
163 163
Rod shows Father Brendan into Mark's room.
88.
Father Brendan sits in a chair next to Mark's iron lung.
FATHER BRENDAN
That was quite something. What do
you propose to do for an encore?
MARK
Yep, I almost found out the big
secret. But here I am, back with
the living. If there is another
place, then I think they took one
look at me and decided to throw me
back.
FATHER BRENDAN
And welcome back.
MARK
And thank you for coming to visit.
FATHER BRENDAN
I know it's been awhile since we
talked about this... About Cheryl.
At the time, you seemed to feel so
badly about her... or about it?
MARK
I no longer feel like that.
Father Brendan is rather taken by surprise.
FATHER BRENDAN
Oh? That's good to hear. In the
end, you're glad that you did it?
MARK
Yes, I am. In fact, at this point
in time, I feel very blessed.
FATHER BRENDAN
Blessed?
MARK
Yes, blessed. They put me on this
new anti-depressant and now I can
really see life from the cup half
full rather than cup half empty
point of view.
Father Brendan looks truly amazed.
89.
MARK (CONT'D)
It takes about six weeks to kick
in, but when it does, you can
really tell the difference.
FATHER BRENDAN
Hey, that's great.
Mark grins.
MARK
I'm pulling your leg, Father. I'm
not on drugs. I have a girlfriend.
FATHER BRENDAN
You're kidding me. A real
girlfriend?
MARK
A very real girlfriend. She adores
me. She'll do anything for me. And
I can get pretty kinky sometimes,
believe you me. Her name is Susan.
FATHER BRENDAN
I'm flabbergasted. Is she pretty?
MARK
She sure is.
FATHER BRENDAN
Has she got a sister?
MARK
As a matter of fact...
FATHER BRENDAN
I'm kidding.
MARK
No, you're not. Anyway, we're
starting a publishing company
together.
Father Brendan smiles and shakes his head.
FATHER BRENDAN
Here I was, all prepared to offer
comfort to the forlorn - that's
supposed to be my specialty - and
now I can just throw away that
little speech.
MARK
No, no. Please make the little
speech. I'd love to hear it.
89A.
FATHER BRENDAN
Okay, but I'll try and keep it
short.
MARK
Don't make it too short.
FATHER BRENDAN
Okay, fine. Here goes. The meaning
of love. Love is a journey.
90.
MARK
I already like it.
There is a pause.
FATHER BRENDAN
That's it. That's all of I've got.
I told you it's short. Love is a
journey.
Mark laughs.
163A OMITTED 163A
EXT. MARK'S PLACE. NIGHT
164 164
Father Brendan lets himself out and walks back the way he
came. There is definitely a smile on his face.
INT. MARK'S PLACE. NIGHT
165 165
Mark also has a smile on his face as he lies awake.
MARK (V.O.)
Actually, I was on drugs, I was
taking anti-depressants and they
were helping a bit. At least I was
able to see the cup-of-life
metaphor as a useful tool. Of
course, the two halves were never
even. Not in my case, that's for
sure. Look at all the years of
unendurable crap I've had to put up
with. That fills most of the cup.
But in the little bit that's left,
what do I have to show for myself?
Journalism? Poetry? At the very
least, three beautiful women who
all loved me and will all show up
at my funeral.
EXT. CHERYL'S PLACE. DAY
166 166
Josh saunters out to the mail box. He retrieves the mail,
sifts through it and pauses over a letter. He is tempted to
open it, but thinks better of it.
EXT. CHERYL'S BACKYARD. DAY
167 167
Cheryl is planting stuff in the back yard. Josh approaches
her with the letter.
JOSH
It's from a Susan Fernbach.
90A.
She takes it and opens it uncertainly, somehow anticipating
its contents.
EXT. CHURCH. DAY
168 168
A full-blown Catholic funeral is happening. Meaningful hugs
are exchanged. Eyes are dabbed. We hear Mark's voice.
MARK (V.O.)
Three Reasons to Live
The mundane:
O God, it was boring, but I did it
got it out of the way
The transcendent:
We had this agreement --
God gave me life for a while
I gave Him gratitude for a while
and it worked out OK
The curious:
You know how every day is
different?
I just wanted to see
what would happen next
INT. CHURCH. DAY
169 169
Father Brendan delivers a eulogy. We see members of Mark's
FAMILY, all teary-eyed.
FATHER BRENDAN (TO MARK)
Mark, I know you're watching. I'm
sorry, my friend, but we have to do
this. Just bear with me, and I
think you might like it.
FATHER BRENDAN (TO THE CONGREGATION)
(CONT'D)
I've been branching out lately,
reading Native American stories
about the character of the
trickster. Sometimes he shows up
as a coyote, sometimes as a raven,
but he always does the unexpected.
The trickster breaks the rules.
Mark O'Brien, whose life we're
celebrating today, was very much
the trickster -- anyone who knew
him knew that.
(MORE)
90B.
FATHER BRENDAN (TO THE CONGREGATION)
Besides his irreverent humor and
alarming honesty, he always did the
unexpected.
In nearly every aspect of his life,
Mark did the unexpected. His was a
dynamic voice in a paralyzed body,
a full life lived long after he
should have been dead. He
graduated from college, wrote and
published articles and poems, and --
against all odds, by his own
admission -- entered into the fully
human experience of physical love.
In this way, Mark lived from day to
day to day, from breath to breath
to breath, for 49 years. He loved,
and he was loved and in his quiet
voice, he spoke loud truths.
91.
We see Rod, Vera and Laura the therapist in various rows.
Also Amanda, holding a toddler in her arms and sitting next
to a tall, boring-looking HUSBAND.
FATHER BRENDAN (V.O.) (CONT'D)
Susan Fernbach will now read one of
Mark's favorite poems.
SUSAN (V.O.)
This is called Love Poem for No One
in Particular.
We see SUSAN at the lectern, reading from a book.
SUSAN
Let me touch you with my words.
For my hands lie limp as empty
gloves.
Let my words stroke your hair,
Slide down your back and tickle
your belly.
For my hands, light and free-flying
as bricks,
Ignore my wishes and stubbornly
refuse to carry out my quietest
desires.
We see Cheryl, as deeply touched by the words as she was the
first time.
SUSAN (V.O.) (CONT'D)
Let my words enter your mind,
bearing torches.
Admit them willingly into your
being
So they may caress you gently
within.
INT. MARK'S PLACE. NIGHT
170 170
In the middle of the room, moonlit, is Mark's iron lung,
empty and majestic, with the cat sitting on top. As we move
around the eerie capsule, we hear the sound of the French Can-
Can slowly fade up. It continues over END CREDITS.
