360. The Borrowed Coat - Leslie

• FADE IN:


• INT. THE SPOT SOUP KITCHEN - DAY


• The Spot is a small, cafe-like space, with 6 large, circular tables arranged neatly around the room and a few couches in the corners. Each table is decorated with Christmas candles and wreaths.


• The room is packed with a variety of homeless people enjoying Christmas dinner.


• A serving window connects the dining room with the kitchen, in which several volunteers are busy cooking.


• MIRI carefully monitors the turkey and potato wedges cooking in the oven.


• She bastes the potatoes with an herb butter mixture, watches for a moment more, then closes the heavy metal door.


• A box of clothes sits in a corner of the kitchen.


• Miri walks past it, to a stool over which her heavy wool coat is draped and feels around her pockets.


• She pulls out her cellphone and checks the time, then absently sticks it into her pants' pocket.


• MIRI
• Abby?


• ABBY, a tall woman busy searing chicken spins around.


• Miri jerks her head in the direction of the clothes.


• ABBY
• Oh, kids from one of the local churches...they're going to stop by and pick 'em up - take 'em to some of the shelters.


• MIRI
• Ah.


• She returns to the potatoes.


• The front door of the soup kitchen bursts open and a group of kids, wrapped tight in coats and scarves against the cold.


• The weave between the tables, talking and laughing loudly.


• FERNANDO, one of the group leaders grabs the box, spilling some onto the floor.


• He grabs them and grabs Miri's coat as well, tossing into onto the pile.


• FERNANDO
• Hey, thanks so much for letting use the space.


• ABBY
• No problem at all. How's it gone so far?


• FERNANDO
• Ah, it's been great, great. Some of the kids are going to head off and drop these off at a few places. Thanks again.


• Abby and Miri wave and he heads out, the flock of teenagers and young adults following him.


• Miri pulls the potatoes and turkey out of the oven, placing them on the serving window counter.


• MIRI
• Alright, Abs, I'm out.


• ABBY
• By darling, thanks for stopping by and helping - you and that fantastic turkey you make.


• MIRI
• You just want me for my turkey.


• ABBY
• All too true.


• Miri heads out of the kitchen and to the front door.


• She opens the front door and is hit with a blast of cold air.


• MIRI
• Oh!


• She closes the door and rushes back to the kitchen.


• Heading to the stool, she stops short, noticing that her coat isn't there.


• She looks around.


• MIRI
• Hey, has anyone seen my coat.


• ABBY
• Stool.


• MIRI
• Nope. I gotta find it - I've got my iPod in the pocket...and my keys! Oh, my keys...shoot!


• Abby turns around.


• ABBY
• Huh...you think that they?


• MIRI
• Nah, couldn't have, it wasn't close to that box.


• ABBY
• It was a bit.


• Miri waves her hand and turns in a circle, looking.


• She walks back into the dining room, searching.


• INT. CAR - DAY


• The box of clothes bounces along on the backseat of the car, a piece Miri's coat sticking out a few layers from the top.


• INT. THE SPOT SOUP KITCHEN - DAY


• The Spot is emptying quickly, its patrons bundling up and slipping out into the late afternoon.


• Miri and Abby washes dishes in the kitchen.


• ABBY
• Thanks for sticking around.


• She smirks.


• MIRI
• Not funny.


• ABBY
• Well, at least Fernando's looking for it.


• MIRI
• You know, the iPod doesn't really matter that much - I've got all the music on the computer anyway...but the keys. I need my keys. And it's cold! I'm not going out there without that jacket. It's my nice jacket. My hippie jacket from London.


• Abby grimaces sympathetically and keeps scrubbing at a pot.


• ABBY
• You did call him, right?


• MIRI
• I called - he's looking.


• MONTAGE


• 1. The car comes to a stop and clothes are grabbed from the box, Miri's coat gets shoved aside.


• 2. Miri sprawls on one of the couches in the now empty soup kitchen. She gets up and searches for the coat a bit, then goes the kitchen and grabs a broom and begins to sweep the dining room.


• 3. The car speeds off to its new destination, the box somewhat emptier.


• 4. Miri sits up straight on the couch, the broom leaning against the couch, inspecting her phone, then pacing.


• 5. The car is stopped in front of another shelter and more clothes are pulled from it.


• 6. Miri sits on the edge of a tabling staring off into space while Abby sits on the couch reading a magazine.


• 7. The car pulls into another shelter and the rest of the clothes are pulled out.


• END MONTAGE


• INT. MIRIAM'S HOUSE WOMEN'S SHELTER - EVENING


• Fernando stands in the corner of the shelter lobby speaking quietly into his cell phone.


• FERNANDO
• Hey, Hey Miri - Yes, this is Fernando. Ok, so I found your coat, but there's a problem.


• He looks across the room.


• LUCY is wrapped in the coat, enjoying its warmth.


• FERNANDO
• No, no - it's just that, it was given to someone. Um, I can get it for you.


• INT. THE SPOT SOUP KITCHEN - EVENING


• Miri sits on the couch, holding the phone sleepily.


• MIRI
• Oh, no, no, let her keep it. But just one favor.


• INT. MIRIAM'S HOUSE WOMEN'S SHELTER - MOMENTS LATER


• Fernando approaches Lucy awkwardly.


• FERNANDO
• Would you mind, um, could I see the coat for a second? I promise, I'll give it back.


• She looks at him skeptically.


• FERNANDO
• I just...there's something in the pockets, um, something that I have to give back to someone.


• She just looks at him.


• LUCY
• Well, I'm not taking it off.


• FERNANDO
• Umm.


• He reaches over gingerly and sticks his hand in one of the pockets - its empty.


• He tries the other one, but no luck.


• FERNANDO
• Is there an inside pocket?


• She contemplates for a moment, then slowly opens her coat.


• He carefully reaches inside and lets out a sigh of relief as he pulls out a tangle of keys, headphones, and the iPod.


• INT. THE SPOT SOUP KITCHEN - MOMENTS LATER


• Miri holds the phone to his ear, half listening.


• She looks over at Abby, who waits expectantly, and whispers.


• MIRI
• He's so sweet, he searched all over East LA for that stupid coat.


• She smiles as Fernando says something.


• MIRI
• No, no, it's fine. I'm sorry you had to go searching - thanks so much, I really appreciate it. Ok, goodbye, you have a Merry Christmas too.


• She hangs up, slipping the phone into her pocket.


• ABBY
• So, did he find your jacket, is he bringing it back?


• MIRI
• Yes, no.


• She leans back into the couch cushions and closes her eyes, leaving Abby to stare at her, confused.


• FADE TO BLACK.

359. The Belated Apology - Leslie

• FADE IN:


• INT. COLLEGE BANQUET HALL - EVENING


• The banquet hall is packed with people milling around tables, the buzz loud buzz of conversation filling the place.


• A sign hangs above the small stage near the front, proclaiming WELCOME HOME ALUMNI!


• JACK wanders the tables, searching for familiar faces.


• He winds his way through the mass of people and spots an empty table on the edge of the room.


• He sits down sideways, head still swiveling to pick out a familiar face.


• Hearing someone sit at the table, he turns around.


• LIZA is sitting across from him, her name printed in large sharpie letter on her name tag.


• She gives him a half smile.


• LIZA
• Hey Jack.


• JACK
• Wow...it's been forever.


• LIZA
• Fifteen years.


• JACK
• How are things? I heard you'd gotten married to Henry - you guys running a restaurant?


• LIZA
• We co-own it and I'm the exec chef.


• JACK
• Wow, that's pretty amazing. Sounds like it worked out well for you - it's what you wanted...exactly.


• LIZA
• I'm kind of impressed with myself too. You still designing clothes?


• JACK
• Still doing the fashion thing. Had a runway show in New York two months ago - still tough, but it's getting better.


• LIZA
• Good to hear you're sticking with it.


• They pause awkwardly and Jack looks around.


• He looks back, Liza's ring catching his eye.


• JACK
• How's Henry?


• LIZA
• He's good, he's good.


• They are silent for a while longer.


• JACK
• I'm sorry, I have to ask. This has been eating away at me since college.


• LIZA
• Yeah?


• JACK
• Did I break your heart?


• LIZA
• Yeah, you did. It wasn't the worst heartbreak I've ever had, wasn't the worst heartbreak at the time, but you did.


• JACK
• I just...


• LIZA
• One day everything was ok, the next you couldn't even hold my hand without wincing.


• JACK
• Yeah, I guess it seemed like it. Internally, I'd been debating for a long time - and I guess one day, I just realized it wasn't working, and then it got really hard.


• LIZA
• You could have said something, and not tried, badly, to keep things going.


• JACK
• Man, I must have been the biggest idiot.


• LIZA
• You were a jerk.


• JACK
• The more I've thought about it, the worse I've felt. I wanted to be perfect, the perfect nice guy - and instead...


• LIZA
• You were really sweet, you were the nice guy - you just handled the whole break-up part badly.


• JACK
• And the worst of it was,


• LIZA
• That you never said anything and I had to break up with you - and I was still very in love with you. I had to break up for you.


• JACK
• I really screwed up and I never apologized. I'm so sorry. I really am.


• LIZA
• It's ok, I got over it - we both learned. At least I did. You better have.


• JACK
• And keep learning every day.


• Liza glances over at the bar on the other side of the room.


• LIZA
• Hey, Henry's waiting for me. I just wanted to say hi.


• JACK
• Good seeing you.


• LIZA
• You too. Hey, chin up. You're still a nice guy. Just, well, you know. But you say you've learned.


• JACK
• I'm sorry.


• LIZA
• Bye, Jack.


• JACK
• Bye.


• He watches her go, then turns to the wall and slumps a bit in his chair.


• FADE TO BLACK.

358. Fate, Manufactured - Leslie

• FADE IN:


• EXT. FARMER'S MARKET - DAY


• PAUL wanders the rows of stalls idly, inspecting everything from neatly labeled jars of wild honey to sniffing at soy candles.


• The market is packed with every type of booth imaginable.


• Paul trips over a small pile of postcards, sending them flying.


• He looks around, embarrassed, then, assured of his conspicuousness, he reaches down and grabs a card, walking casually away from the mess.


• When he's moved far enough away, he looks down to read what he's holding.


• It's a simple card, printed on thick, brown, recycled paper. and it reads "Gypsy Market: Catch us if you can".


• PAUL
• Well, that's silly.


• He looks around, then heads to the closest booth and approaches the vendor.


• PAUL
• Hey, can you tell me where this is? The Gypsy Market?


• VENDOR
• Sorry, I've got no idea. Maybe if you follow the closest pair of dreads.


• PAUL
• Heh, thanks.


• Paul wanders a bit more, peering at booth titles.


• He nears the end of the row of booths and then stops.


• A small sign hangs on a streetlight pole
  among the usual collection of lost-and-found notices, concert flyers, and random ads.


• It reads "Gypsy Market," with a small arrow pointing left.


• He heads left, behind booths, cutting behind the rows and rows of vendors.


• The booths then and he finds himself at the edge of the farmer's market.


• A ring of RVs and caravans are parked in a semi-circle, there at the edge, tables and booths piled full of wares.


• Paul smiles and clenches his fist in small gesture of victory.


• He enters the semi-circle, one of a few shoppers eyeing the wares.


• Several of the shoppers are engaged in loud and cheerful bargaining with the vendors.


• He scans the tables an finds a small one covered with votive holders, small lamps, and little figurines crafted out of scrap metal.


• He stops to inspect the figurines, which are put together with a surprising amount of skill and intricacy.


• KATE, a girl with carefully mismanaged dreads, an exotic looking jacket, and flared jeans covered with well-placed flecks of paint, slips out of the RV directly behind the table and comes up to Paul.


• KATE
• So you like my little toys?


• Paul pauses.


• Her accent is a north English one, surprising and beautiful.


• PAUL
• Eh, they're nice enough.


• KATE
• Oh, I know you love them - look at you, trying to drive a hard bargain.


• PAUL
• Like I said, they're ok.


• KATE
• Ok, mister.


• He scans the table, feigning boredom.


• PAUL
• So what inspired these?


• KATE
• Oh, a summer of reading Flannery O'Connor and a weird assortment of steampunk lit.


• Paul's mask cracks.


• KATE
• Ah, ha! See. Not only do you love my little creations, you are either a fan of dear old Flannery or steampunk lit.


• PAUL
• What? I didn't say anything.


• KATE
• Come off of it.


• PAUL
• Both.


• KATE
• Oh, my dear, I have you, don't I?


• PAUL
• You've utterly destroyed my bargaining position.


• KATE
• Well, you're cute - and you obviously have good taste, so we'll see what I can do for you.


• PAUL
• And now you're trying to rush me. I'm still just looking.


• She smiles coyly.


• PAUL
• So when did you discover Flannery?


• KATE
• A library in Stevensville, Michigan.


• PAUL
• Visiting family?


• KATE
• Do I sound American?


• PAUL
• You could have American family, I'm just saying.


• KATE
• The caravan was there for a few weeks.


• PAUL
• Wait, so you guys really are gypsies? I thought maybe this was a cool marketing gag for a store, or just something local. So you don't live anywhere?


• KATE
• Homeless and couldn't be happier.


• PAUL
• Wow. So why'd you move to the States?


• KATE
• What is this, a first date?


• PAUL
• Oh, sorry, guess I was trying to give you the sixth degree there.


• KATE
• 'Tis alright. Now which piece do you want.


• Paul points to a dancer with a gas mask that covers the lower part of her face and nail file blades in either hand.


• PAUL
• I see the steampunk influence, but the Flannery?


• KATE
• If I could explain everything about my art or how something influenced it, it wouldn't be art, now would it?


• PAUL
• Fine. So how much?


• KATE
• What do you think is fair?


• PAUL
• You tell me.


• KATE
• Fifty.


• PAUL
• Ha! If you noticed, this isn't a gallery show and I'm not Daddy Warbucks - Fifteen.


• KATE
• See, I had started to like you. Are you delirious? Forty-Five.


• PAUL
• Twenty.


• KATE
• Thirty, I'll go no lower.


• PAUL
• Twenty-Five.


• KATE
• Thirty-Five.


• PAUL
• Was nice talking to you.


• He begins to walk away.


• Kate grimaces.


• KATE
• Twenty-Seven.


• Paul spins around.


• PAUL
• Done.


• He counts out the money.


• PAUL
• So how much do you usually sell these things for, twenty?


• Kate doesn't say anything, but her eyes twinkle as she wraps up the figurine.


• PAUL
• Figures. So how often do you guys come around the area?


• KATE
• I don't really know, this is our first time. Maybe we'll be back; maybe we won't. We just go where the wind takes us.


• PAUL
• Oh.


• KATE
• I'm sorry.


• PAUL
• Well, I was going to take you out next time you were in town - but since you won't be, you have some time today?


• KATE
• Sorry, no - we're leaving as soon as we finish here. But, if I could, I would - like I said, you have good taste.


• PAUL
• See, we shouldn't leave something like this to chance - you have some kind of contact?


• KATE
• What better thing to leave to chance? The world is infinitely smaller and larger than you can imagine. If we're supposed to meet again, we will.


• PAUL
• And what about us making our own fates?


• Kate shrugs, smiling, and walks around the table to hand him the figurine.


• PAUL
• Or maybe you just don't to see me again, eh? Just being nice?


• KATE
• Maybe it is that only, yea?


• PAUL
• You really would leave it to fate?


• KATE
• Life is strange. We'll bump into each other again if we're supposed to. If not, we have these sweet memories.


• She hugs him and surprised, he hugs her back.


• She steps away.


• PAUL
• Well, ok, here's to fate then.


• KATE
• Kate, I'm Kate.


• PAUL
• Paul, Paul McGrew.


• KATE
• Be well, Paul.


• He walks away from the table and waves, then heads back to the main market, figurine in hand, his face a bemused mix of emotions.


• ARI walks over to Kate from his booth.


• She's inspecting Paul's business card in her hand.


• ARI
• Who was that then? And when did you start hugging folk? Did you whip him that badly on the price?


• She smiles and waves the business card bearing Paul's name at him.


• KATE
• He didn't do too bad.


• ARI
• Oh ho, you are a sneaky one. He was that special, was he?


• KATE
• I think so, yea.


• ARI
• What happened to fate? The world being big and small or whatever that crap is you say?


• KATE
• You can't leave something like this to chance.


• ARI
• Hypocrite!


• She smiles, then leans back against her RV and inspects the card again.


• FADE TO BLACK.

357. The Misdirect - Leslie

• FADE IN:


• EXT. MAIN STREET SIDEWALK - DAY


• TIGHE stands in the middle of the sidewalk staring up at a tree growing up out of a planter dividing the path.


• Its slender trunk swirls upwards; its smooth, paper-like bark spiraling up towards the branches.


• With its small, amber-colored leaves, it could have been pulled straight from a Disney film.


• Tighe ponders the tree, slack jawed, not moving a muscle.


• People pass him on the sidewalk, paying little or no attention to him - he is a familiar sight.


• A Group of TEENAGE BOYS walks up to him, all bravado.


• Tighe flinches, pulling away from them, his hands curled at his side, fingers feeling at the air.


• BOY 1
• Hey, what's up in that tree, Tighe? What's so interesting?


• BOY 2
• I betcha he's looking for the shortbus.


• BOY 1
• Is that what you're looking for? Aren't you a little big for the shortbus?


• The boys laugh, attracting DENNIS' attention.


• He makes a beeline for them.


• DENNIS
• Hey, leave him alone, go on!


• The boys walk away, sneering and laughing.


• DENNIS
• Hey Tighe, c'mon man; you've been staring at that tree for as long as I can remember. Maybe it's time to find another tree.


• Tighe barely reacts, blinking fast.


• DENNIS
• You keep this up, people are going to think you're slow.


• He chuckles.


• Tighe's phone suddenly rings, startling both of them--a cheerful, electronic polka.


• He reaches for his pocket, trying to get to it.


• Dennis watches awkwardly, moving in to help, then back away.


• The phone stops ringing.


• Tighe looks at Dennis with his half-empty eyes.


• TIGHE
• Gotta go, gotta go.


• He moves away with surprising speed, his stride jerky, his hands clenching and unclenching, head tilted to the side.


• EXT. TIGHE'S HOUSE - DAY


• The street on which Tighe's house is lined with trees that hide the slightly decrepit state of the neighborhood.


• He rounds the corner, his tilted gait identifying him from a ways off.


• He gets to his house and walks up the sidewalk, fumbling for his keys.


• He finds them and gets the door open, sliding inside.


• INT. TIGHE'S HOUSE: ENTRANCE - DAY


• The house is simple; it doesn't appear to have been re-decorated since the 70s.


• Tighe makes his way down the single hallway and halfway down the hall, his shoulders relax and his eyes clear.


• He shuffles into his bedroom.


• INT. TIGHE'S HOUSE: BEDROOM - DAY


• His fists clench and unclenching, Tighe walks to his desk and sits, carefully.


• The room is filled with beautiful sketches, drawings, and paintings of the tree from every angle imaginable.


• Where there aren't paintings, there are bookshelves packed with classics.


• He leans over, painfully removing colored pencils from a drawer and flips open a sketchpad.


• Reaching over to a cd player perched at the edge of the desk, he punches the play button, and the sounds of Mendelssohn fill the room.


• He smiles, his lips splitting in a strange grimace, then bends over the sketchbook and begins a new version of the tree.


• FADE TO BLACK.

356. Joy - Leslie

• FADE IN:


• EXT. PORCH - NIGHT


• LEE sits on the broad porch of a California bungalow-style house.


• The porch wraps around the front and side of the house, its wooden floor glowing orange from the lamps within the house, their comfortable light spreading out from the large picture windows that run parallel to the porch.


• The street on which the house sits radiates warmth and safety, its houses displaying neatly arranged Christmas lights in addition to an assortment of antique-looking street lamps.


• Many of the houses have their own unique lamps, all spilling orange warmth onto the street; some hanging above porches, some above gates, which serve more for show than any essential purpose.


• Lee wobbles back in forth in one of the wicker rocking chairs scattered around the porch.


• A small tape recorder sits in his lap.


• He takes a breath and hits play.


• JOY (V.O.)
• Hola, darling; this is me, Joy.


• He stops the tape, rewinds.


• JOY (V.O.)
• Hola, darling; this is me, Joy.


• He stops it and looks out over the street, shivering.


• He pulls his coat and scarf tighter as a stiff breeze pulls dead leaves from the trees lining the street.


• Inside the house, Lee's brother, DAVE watches from one of the windows.


• He purses his lips and heads to the door, only to be restrained by ALI, his wife.


• They wait, concerned, watching Lee through the window.


• He presses the play button again.


• JOY (V.O.)
• I'm so sorry, baby - I didn't want to go this way. Make sure you're on the porch when you play this - I love how - I loved how - is it weird for me to speak about myself in the past tense? I know, you're getting upset now; I shouldn't take this so lightly. I loved how the neighborhood looked at night. That's how a neighborhood should look, inviting, safe. I miss you already. I can hear you in the kitchen right now and I'm wondering what you will do when you find me. I can't joke anymore, not really - and I think that's when it's over. This is all wrong, but I don't know what else I can do. If not now, then my pet monster will take over my brain, and all the treatments will turn me into a living skeleton. There's no need for that. I don't want you to see me like that. So, so I'm going to go now. I'm going to hit stop on this thing, and I'm going to go. I love you, babe. We didn't get enough time together, did we? Next time, ok? We'll do it right next time.


• Lee slumps, then hits rewind and waits.


• The tape clicks to a stop.


• JOY (V.O.)
• Hola, darling; this is me, Joy.


• He stops it, hits rewind again, then play.


• JOY (V.O.)
• Hola, darling; this is me, Joy.


• He stops it and rewinds again.


• FADE TO BLACK.

355. The Starlight Coast - Leslie

• FADE IN:


• INT. AMTRAK COAST STARLIGHT TRAIN - DAY


• WILL wanders into the observation car of the train, marveling at the southern Californian coastline.


• He slides into a seat next to the massive window and stares as the train races north.


• He begins to doze off.


• LEANN walks into car and looks around for a free seat; she spots the seat next to Will and heads towards it.


• She stops in the aisle, leaning over to tap Will on the shoulder.


• He blinks sleepily.


• WILL
• Ehm?


• LEANN
• Hey, would you mind me sitting next to you?


• WILL
• Hmm? Oh, no, no, that's fine.


• She slides into the seat next to him and slips off her jacket, revealing a short-sleeved blouse with intricate button work.


• Cherry blossoms are tattooed across her right shoulder, the petals spilling onto her biceps.


• Will admires them.


• WILL
• Is spring your favorite season?


• LEANN
• Oh, no. I'm melancholy, and I think by definition we love fall - it's in our nature. The most bittersweet of seasons. I just need to remember, every once in a while, that spring is coming.


• WILL
• Cool. I'm a fall guy too.


• LEANN
• I suspected. I always daydream about meeting cool, like-minded strangers on the train. It doesn't happen nearly as much as it should. Thankfully, you were here today.


• WILL
• Well, I'm flattered. You travel the rails much?


• LEANN
• The rails?


• WILL
• Yeah, maybe shouldn't have said that out loud.


• LEANN
• It's ok. I live in Portland, but I do a lot of gallery shows in LA. It'd probably be faster to fly - well, I know it would, but trains, I'm completely in love with trains.


• WILL
• Oh, me too. Lived in Germany for a summer, was completely amazed at how easy it was to get around. Promised myself I'd use public transport as much as I could when I got back here.


• LEANN
• A man after my own heart.


• They smile at each other.


• LEANN
• Oh, look! This is one of my favorite parts of the coast.


• WILL
• You do do this a lot.


• LEANN
• Oh yeah.


• WILL
• It's beautiful.


• They watch out the window for a while in awe.


• Will relaxes into his sit again, content in the quiet.


• LEANN
• This might be a bit forward, sorry - would you mind if I used your shoulder as a pillow?


• WILL
• No problem.


• LEANN
• Thanks dashing train stranger.


• Will opens his mouth, attempting to find a response, then gives up.


• He gestures to his shoulder.


• WILL
• All yours.


• She puts her head down on his shoulder and he looks back outside at the world racing by.


• FADE TO BLACK.

354. A Tomaszewski Christmas - Leslie

• FADE IN:


• EXT. WARSAW OLD TOWN (STARE MIASTO) - DAY


• ABEL walks the edges of the Old Town's market square, staring up in awe at the colorfully painted buildings that ring the cobblestoned area.


• He is so lost in the world above him that he doesn't notice KSENIA barreling towards him on her bike - and she, distracted by the the bags she is trying to balance on the bike.


• Abel steps right into her path and she slams into him sending the two of them sprawling.


• He scrambles up.


• ABEL
• Prosze...eh...przepraszam? Ehm...


• Ksenia sits up.


• KSENIA
• It's ok, I speak English.


• ABEL
• I'm really sorry.


• Ksenia shrugs.


• Abel rushes to help her put her bags back in order.


• She stands, righting her bike.


• ABEL
• Where are you going? I can help.


• KSENIA
• Just there.


• She points to a small shop at the end of the square.


• Abel hoists the bags and they walk across the cobbles, Ksenia pushing her bike.


• She parks the bike in front of the shop and Abel hands her the bag.


• ABEL
• Sorry again.


• KSENIA
• No problem.


• She takes a closer look at him.


• ABEL
• Have a good day.


• He begins to head off.


• KSENIA
• Wait, you - are you here in Warszawa alone?


• ABEL
• Yeah, just traveling around for my vacation.


• Ksenia tsks and shakes her head.


• KSENIA
• Come, have dinner with my family. It's no good to be alone for Christmas.


• ABEL
• It's not Christmas today.


• She tilts her head.


• KSENIA
• Of course - it is the whole...


• She waves her hands searching for words.


• KSENIA
• The whole season, the season is Christmas, it is Advent. Come.


• ABEL
• Well, when you use that tone of voice.


• KSENIA
• What?


• ABEL
• Nevermind.


• She opens the door, grabbing the bags from him and shoos him in.


• INT. TOMASZEWSKI FAMILY STORE - DAY


• She closes the door behind her and pushes Abel to the back of the store to a flight of stairs.


• They head up the stairs to first floor of the residence.


• INT. TOMASZEWSKI DINING ROOM - DAY


• They enter a large, comfortable living room/dining room area.


• MR. and MRS. TOMASZEWSKI and GRANDMA TOMSZEWSKI are seated around the dining room table.


• Mrs. Tomaszewski is a thin, open-faced woman, Mr. Tomaszewski a thick man with strong hands, and Grandma, a small woman with a face that is filled with stories.


• Ksenia drops her bags.


• KSENIA
• Czesc!


• MR. TOMASZEWSKI
• Czesc Ksenia!


• She turns to Abel.


• KSENIA
• To Jest...


• She looks at Abel quizzically.


• ABEL
• Abel, Abel Martyn.


• KSENIA
• To jest Abel. Abel, this is my Baba, my Mama, and that's Babcia. I am Ksenia, Ksenia Tomaszewski.


• She points to her father, mother, and grandmother.


• Abel waves.


• ABEL
• Dzien Dobry.


• The grandmother smiles broadly and thumps the chair next to her.


• MR. TOMASZEWSKI
• Come, come.


• They sit and in a moment, Abel has a large bowl of soup in front of him.


• He eats, savoring the warm food as the family around him laughs and talks.


• MRS. TOMASZEWSKI
• Soup with, eh...grzybowa i kapusniak.


• She motions with her hands.


• KSENIA
• Wild mushrooms and cabbage.


• ABEL
• It's really good...dobra, dobra.


• The family beams.


• MR. TOMASZEWSKI
• Dessert, sernik i makowiec!


• He grins.


• KSENIA
• Cheesecake and poppy seed rolls.


• ABEL
• Oh wow.


• MONTAGE


• They eat, moving from soup to smoked salmon, cabbage salad, and roasted chicken.


• Abel is surrounded by a swirl of polish words and food.


• END MONTAGE


• When they are finished, Mrs. Tomaszewski bustles about clearing the table and replacing the main course with the dessert.


• Abel samples the cheesecake and rolls while the family expectantly watches.


• ABEL
• Oh, wow, that's really amazing. Dobra!


• They laugh and smile, launching into their own helpings.


• Abel finishes the cheesecake and stands.


• ABEL
• Thank you very much, dziekuje. It was amazing. I'm sorry, I have to get going.


• Mr. Tomaszewski stands and claps Abel firmly on the shoulder, shaking his hand.


• Abel shakes Mrs. Tomaszewski's hand and Grandma waves him over, planting a wet kiss on his cheek - he grins at her and she flutters her eyelashes.


• KSENIA
• Babcia!


• Abel moves to the door.


• KSENIA
• Tch, I take you. Where are you staying?


• ABEL
• Ehm, right across the river, on Florianska street.


• KSENIA
• Oh, it is, as you say, the bad side of the tracks.


• ABEL
• Or river in this case. Well, the hotel price is right.


• KSENIA
• Ok, I take you.


• ABEL
• Thanks.


• KSENIA
• Baba?


• MR. TOMASZEWSKI
• Oh? Oh!


• He pulls keys from his pocket and hands them to Ksenia.


• KSENIA
• Come on.


• ABEL
• Thank you again!


• MR. TOMASZEWSKI
• Welcome, welcome.


• ABEL
• Bye, eh, do widzenia?


• MRS. TOMASZEWSKI
• Do widzenia!


• They wave and Abel and Ksenia head down the stairs.


• EXT. TOMASZEWSKI ALLEY - DAY


• Ksenia pulls a scooter onto the small alley behind the house and gets it started.


• She hands a helmet to Abel.


• ABEL
• How about you?


• KSENIA
• I'm ok. Get on.


• He obeys and they speed off, her hair blowing behind her.


• MONTAGE


• They ride through the square, exiting the old city across the Slasko Dajbrowski bridge that straddles the Vistula river.


• They cross the bridge, the skyline shimmering behind them.


• They enter the more modern part of the city, ancient cathedrals dotting the gray, communist architecture that dominates this part of the city.


• They wind through small streets until they reach Abel's hotel, a warm-looking five story building near a movie theater in the slowly gentrifying neighborhood.


• END MONTAGE


• Abel hops of the bike and hands Ksenia the helmet.


• ABEL
• Thanks - that was a pretty amazing lunch. It was nice to be around people again.


• KSENIA
• Yes, you need at least one good meal during Christmas. Otherwise...pffft.


• ABEL
• Thanks.


• KSENIA
• Ah, now you can go back to your friends in America and tell them about the, hot, hot yes? The hot girl you seduced on Christmas, no?


• Abel blushes.


• ABEL
• Ehm, no, not really my style. I will tell them about the beautiful polish girl who I nearly killed and who repaid me with a great meal.


• Ksenia laughs.


• KSENIA
• You have a merry Christmas Abel Martyn.


• ABEL
• And you too, Ksenia, Tomas, Tomaszewski.


• She smiles, pats him on the cheek and speeds off.


• He looks after her for a moment after she is gone, then smiles, shakes his head, and heads into the hotel.


• FADE TO BLACK.