From: v064qpcd@ubvmsd.cc.buffalo.edu (The Angel of the Abyss)
Newsgroups: alt.tv.northern-exp
Subject: NEXP Script
Date: 15 Sep 92 21:26:00 GMT
Organization: University at Buffalo
News-Software: VAX/VMS VNEWS 1.41

I wrote this last year with the intention of sumbitting it to the producers   
NEXP.  However, I got no response from my letter asking where I would submit
it to, exactly, or what the procedure was for unsolicited scripts.  So, in
the interest of the general edification and merriment, I'll post it here,
in the hopes that some of you enjoy it.  If you have any comments, please
email them to "jjd3@po.cwru.edu", NOT to this account.  Cheers!


				NORTHERN EXPOSURE

				"Wishes"

				by James DiBenedetto

				Seventh Draft, revised 6/24/92

This script is copyright 1992 by James DiBenedetto.  All rights reserved.
Do not redistribute or copy this script without permission of the author.

THE CHARACTERS:
Joel
Maggie
Holling
Shelly 
Maurice
Ruth-Anne
Chris 
Marilyn
Ed
GUEST CHARACTERS:
Edna (the mayor, from the Election episode)
Marvin Adams
Allison Jennings
Tommy Jennings
Sarah Carnegie
Williams Howard

And now..."Wishes":

				TEASER

We open on a quiet, scenic road.  The only sign of civilization is Maurice's
truck, which is in the middle of the road, its hood up.  Maurice is bent over
the engine of his truck, wrench in hand.  We hear Maurice muttering to himself
as a light snow begins to fall.  After a moment, we hear footsteps.  A group
of people are walking up the road towards Maurice.  They are all well-dressed,
with L.L. Bean (or other "yuppie brand") parkas and backpacks.  One of these
people, a tall, clean shaven man, approaches Maurice from behind.  

MARVIN		Excuse me, sir?

MAURICE		(hitting his head on the hood of the truck as he straightens
		up) Yeah?  What?

MARVIN		We're very sorry to trouble you, sir, but could you tell
		us if this is the road to Cicely?

MAURICE		(suspicious) What do you want there?

MARVIN		(staring at Maurice) we just...(turns to his group, who are
		suddenly whispering excitedly among themselves) isn't that...?

GROUP		(all together) MAURICE MINNIFIELD!!!!!!!!!!

MAURICE		(backing up against the truck, wrench held menacingly in his
		left hand) What do you want?

MARVIN		Mr Minnifield, sir...it's an honor to meet you.

MAURICE		(confused) What?

MARVIN		To tell the truth, you're something of a hero to us, sir.

MAURICE		(relaxing) Why didn't you say so?

MARVIN		It took us a minute to recognize you...we never thought we'd
		actually get to meet you in person, sir.

MAURICE		(trying to look modest, and failing) Well...

MARVIN  	You're a genuine pioneer, sir.  Outer space wasn't enough for
		you, so you blazed a trail into the virgin Alaskan wilderness.

MAURICE		Well, yes...(he thinks for a moment, and then smiles) There
		wouldn't happen to be a mechanic in your little group, would
		there?

MARVIN		(looks at his group, who all glance at Maurice's truck and nod
		back at Marvin) No, but I think we can help you in another
		way...

MAURICE		How?

CUT TO: Main Street.  People are milling about as the snow begins to fall
a little more heavily.  The street is empty of vehicles until Maurice's
truck rolls into view...Maurice is sitting in the cab, smiling, while
Marvin and his group push the truck down the street.

				END TEASER

				ACT ONE

We open in downtown Cicely.  It's 9 AM, and people are going about their
business.  We focus for a moment on Maggie, who is getting out of her truck,
and who looks very distracted and "out of it."  Over this scene, we hear:

CHRIS		(voiceover) Good morning, Cicely.  This is Chris in the
		morning on KBHR, the voice of beautiful Cicely, Alaska. 
		Which, thanks to the good folks at Frommer's Travel Guides,
		is now on the map, so to speak.  Thanks also go to Marvin
		Adams and his "Urban Escape" group, who brought that to our
		attention.  Marvin and his group are visiting Cicely for
		a few days of rest and relaxation away from the rat race
		of city life back in the continental States.  Have a great
		stay, folks.  There's also a couple of announcements this
		morning.  The Cicely Gourmet Society is holding its annual
		Caribou Cook-Off this Friday at The Brick...be sure to stop
		in and taste Cicely's finest food.  And also, this afternoon,
		at the town hall, is Meet the Mayor day.  Don't miss your 
		chance to see democracy in action!  Have a great day,
		Cicely!

CUT TO: Joel's office.  He's examining Mayor Edna.  As Joel reads a
thermometer, Maggie enters.  When we see her first, in the doorway, she 
looks somewhat dazed, but when she sees Joel, she "wakes up."

JOEL		(turning to stare at Maggie) O'Connell!  Can't you see I'm
		busy?

MAGGIE		Why didn't Marilyn tell me, then, Fleischman?

JOEL		She didn't?

MAGGIE		She wasn't there.

JOEL		She wasn't?

EDNA		(annoyed) Are you deaf, or just stupid, Dr. Fleischman?

JOEL		(going into the reception room) Marilyn?  MARILYN?  
		MARILYN!!!

MAGGIE		(at Joel's back, as he re-enters the office) I TOLD you she
		wasn't there.

JOEL		Where is she?

MAGGIE		How should I know?

EDNA		Who cares?  Finish your examination, Dr. Fleischman.

JOEL		(looking at his thermometer again) I did.  You're fine.

EDNA		No, I'm not.

MAGGIE		You're not?

JOEL		(to Maggie) Yes she is. (to Edna) Yes, you are.  Unless
		you count wanting to be mayor of this backwater, which is
		clearly a form of sado-masochism.

EDNA		No, I'm NOT fine!

MAGGIE		You're not?

EDNA		Child, do you EVER have an original thought?

JOEL		Look, Madame Mayor, if you'd like me to help you, you'd
		better be civil to my friends (Maggie stares at Joel in
		shocked admiration) and you could tell me exactly what's
		wrong with you.  Besides a completely misanthropic personality,
		of course.

EDNA		You're obviously not going to help me...

JOEL		I'm not qualified to perform lobotomies, no.

Edna grumbles and storms out.

MAGGIE		Thanks, Fleischman.

JOEL		Yeah, yeah.  What do you want, O'Connell?

MAGGIE		I don't remember.

JOEL		You know, I'm not qualified to reverse lobotomies, either.

MAGGIE		But Edna reminded me of something...

JOEL		What?  A pit viper?

MAGGIE		(ignoring Joel's sarcastic remarks) Dinner!

JOEL		Are you losing it, O'Connell?  It's not 10 o'clock
		in the morning yet!

MAGGIE		Not now, tonight.  I owe you a dinner...for (Maggie stops for
		a minute to think of an appropriate excuse to buy Joel dinner)
		I remember - election night!

JOEL		That's...nice.  But you don't have to, it's fine.

MAGGIE		No, but I want to (slightly annoyed now) if that's alright
		with you, Fleischman!

JOEL		(trying to pacify Maggie) All right...sure.

MAGGIE		Great!  8 o'clock?  Is that alright?

JOEL		Peachy. (to himself) Just peachy. 

Maggie walks out of the office, smiling as she leaves, but her smile changes
to a puzzled expression, as if she doesn't know where she is, as if the previous
scene had not actually happened to her.  She almost faints, but grabs
a chair in Joel's waiting room for a moment, then walks out.

CUT TO: The Brick, that afternoon.  The members of the Urban Escape
group are sitting and talking with Maurice.  All the visitors are
dressed in more or less identical clothing; expensive jeans and
sweatshirts.  All the men have their hair done exactly the same way,
as well.

TOMMY		I love this town!

SARAH		It's even better than the travel guide said.

WILLIAMS	It's very peaceful.  And the people...especially that DJ...
		what's his name?

MAURICE		Chris?

WILLIAMS	Yes!  Where did you find him?   He'd go over great in New 
		York...

MAURICE		Well...we...

MARVIN		Williams, you know the rules...no business...this visit
		is for vacationing only.

SARAH		Right.  We're here to relax and unwind.

WILLIAMS	Sorry.

MAURICE	 	So all of you are from New York City?

MARVIN		Yes.  Our jobs get so stressful sometimes, we just need
		a break, and when we saw the tour package...

Whem Marvin and Sarah speak, it is as if they have one mind between the two
of them; they finish each other's thoughts, like Tweedledee and Tweedledum.

SARAH	   	...We knew this was our chance to get away from it all.

MAURICE		You all like our town?  We like to call it "a little piece
		of paradise."

MARVIN		That's very...

SARAH		...catchy.

TOMMY		Definitely.

MAURICE		I thought it up myself...when I first came up here and
		bought my 15,000 acres.

The visitors all gaze at Maurice with total admiration, as we MOVE TO:

The kitchen.  Shelly and Holling are watching Maurice entertain the
visitors.

SHELLY		Looks like Maurice found some new friends.

HOLLING		They look like investor types.  I hope he's not trying
		to get a development deal for his land again.

SHELLY		Why?  Isn't that good?

HOLLING		Don't you remem - no, you weren't here for the Disaster
		of '84, were you...Maurice tried to get some developers
		up here and he almost ended up selling the entire town out  
		from under us...

SHELLY		No!

HOLLING		Yeah.  He didn't know that the developers were working for
		some oil company until they built a drilling rig.  If it
		wasn't for...(Holling stops, remembering)

SHELLY		Wasn't for what, babe?

HOLLING		Well, the ground where they built was a little unstable.  The
		whole rig collapsed and then it fell into the ice out by Moose
		Lake...they never did recover the thing.  Little bits of
		it are still sticking out of the ice.

SHELLY		Wow! 

HOLLING		You'd think Maurice would have learned his lesson...

Back at the bar, we see a number of people walk into the Brick.  They are
grumbling, and as we listen, we can hear them complaining about Edna's
failure to show up at "Meet the Mayor" day.  Following them is Maggie, who
still looks lost, in spite of her conversation with Joel earlier.  Holling
sees her wander in dazedly and comes out to talk to her.

HOLLING		(coming out of the kitchen) Maggie!  How are you?

MAGGIE		(not talking to anyone in particular) Fine.

HOLLING		(grabbing Maggie and guiding her to a bar stool) Are you
		sure?  You look a little...tired, can I get you anything?

MAGGIE		No, I'm fine, Holling.

HOLLING		(getting Maggie a glass of water and putting it in front of her)
		You feel like telling me what's going on?  I thought you were 
		still supposed to be in Seattle?

MAGGIE		I was, but - 

SHELLY		(joining Holling and Maggie) But what, Maggie?

MAGGIE		Well, I guess I might as well tell it now.  I met a...a guy
		down there.  Pete Taller, worked for Boeing as an engineer.

SHELLY		What, did you two have a fight or something?

MAGGIE		No.  He...fell.

HOLLING		(cringing; he knows where this conversation is going) Fell
		where, Maggie?

MAGGIE		Into the turbine of a Pratt and Whitney J-330 jet engine.

Holling and Shelly look at each other, expressions of sorrow, but not shock
on their faces.  Maurice comes into the scene, having heard only the end
of Maggie's last sentence.

MAURICE		That's a pretty impressive engine.  What's it put out, 28,000
		pounds of thrust?

Holling cringes, expecting the worst, but Maggie doesn't react the way he
expects.

MAGGIE		(in a distant voice) 28,500.

MAURICE		(looking at Shelly and Holling, realizing what must have
		happened) I'm sorry, Maggie.

HOLLING		We all are, Maggie.  If there's anything we can do...?

MAGGIE		(barely audible) No...no, but thanks.  

Maggie gets up, a little unsteadily, at this point, and leaves.  We:

CUT TO: Ruth-Anne's store.  She's behind the counter, and Allison and Tommy
are looking around.  Allison approaches the counter.

ALLISON		Excuse me.  Do you know where I might find Dr. Joel
		Fleischman?

RUTH-ANNE 	Joel?  In his office, I suppose.

ALLISON		Could you tell me where that is?   

RUTH-ANNE  	Right down the street.  You can't miss it.

ALLISON		Thank you very much.

Allison leaves, followed by Tommy.  As she leaves the store, Maggie
bumps into Allison.  They stare at one another for a moment, mumble
apologies, and continue on their way.  Maggie spots Chris down the
street, and calls out to him.  He stops walking as she jogs up to
meet him.  Maggie looks a little better now, but not much.

CHRIS		What can I do you for, Maggie?

MAGGIE		I need advice, Chris.

CHRIS		Shoot.

MAGGIE		It's just...there's something I was thinking of doing,
		I've been thinking about it for a long time, but never got
		the nerve up to do it, and tonight I have a chance
		to finally try...but I'm nervous as anything...

CHRIS		Carpe Diem.

MAGGIE		What?

CHRIS		Carpe Diem.  Seize the day.  There's nothing sadder than a 
		missed opportunity.

MAGGIE		Thanks, Chris!

CHRIS		Good luck, Maggie!

They walk off in opposite directions.  We see Allison looking in the window of
Joel's office down the street; it is closed and Joel is not there.  She lingers
a moment more and then walks off.

CUT TO: The Brick, that night.  We also hear (and see) Joel and Maggie at a
table, laughing.  They are in the background, as we focus on Marvin, Sarah
and Maurice.  

SARAH		I know we're not supposed to talk business but...

MARVIN		...This is too good an opportunity to pass up.

MAURICE		Would you two mind telling me what you're talking
		about?

SARAH		Making Cicely into a REAL tourist attraction.

MARVIN		A hotel...

SARAH		...And resort complex.

MAURICE		Really?

MARVIN		Really.  Mr. Minnifield - 

MAURICE		It's Maurice.  Please.

SARAH		Maurice, we know you've worked hard to make Cicely
		what it is, and it's a wonderful place.  We'd like
		to help you...

MARVIN		...Make it even better...

SARAH		...If you want to , of course.

MAURICE		Tell me more, please.

MARVIN		Well, we can have some drawings and plans faxed up
		tomorrow, so you can see our ideas.

MAURICE		We don't have a fax machine here.

SARAH		Don't worry.  Williams smuggled a portable one up in
		his luggage.  Good thing for us he didn't...

MARVIN		...listen to the rules about not bringing work up here.

At the bar, Williams is talking with Shelly and Holling.  Holling gets
Williams a beer.

WILLIAMS	Mineral water, please.

HOLLING		Sure. (gets the mineral water, takes the beer himself)

SHELLY		I know you're all businesspeople...what exactly do you
		do?

WILLIAMS	Funny you should ask that.  I'm a TV producer.

SHELLY		Really?

WILLIAMS	Yes, indeed.  And...

HOLLING		What?

WILLIAMS	We're not supposed to do any business on this vacation, but
		this idea is just too hot...

HOLLING		(very suspicious) What idea?

WILLIAMS	Well, it really seems as though your bar is the social center
		of this lovely little hamlet, wouldn't you say?

HOLLING		You could say it that way, I suppose.

WILLIAMS	And everyone in town stops in here now and then, right?

SHELLY		Right!    

WILLIAMS	Well, then...have you ever seen the show "Cheers" on the TV?

SHELLY		I used to LOVE that show!

WILLIAMS	Me too...but it's getting old these days.  I've got an
		idea that will do it one better...

HOLLING		I don't believe I've seen the show, myself.

WILLIAMS	Right.  Anyway, my idea is...I know it might sound
		a little strange to you...but a show set here...your
		bar...

SHELLY		Really?

HOLLING		Who'd want to watch us on TV?

WILLIAMS	(patiently, as if talking to a child) It wouldn't actually
		be you of course...we'd use actors...and we'd film it
		in Hollywood, not here.  Or...we passed through this nice
		little town in Washington State...never mind.  Anyway,
		what do you think about it?

HOLLING		I don't know...

SHELLY		Sounds bitchin'!  But...what do we get out of it?

WILLIAMS	Fame...money...everything you could want.

SHELLY		(to Holling) babe, you can pay off your tax bill!

HOLLING		(uncomfortable) Yes...

We shift to Joel and Maggie's table.  As we see Maggie up close, she is
dressed differently than before.  She is wearing a new sweater, and a
(for her) short skirt.  Joel is emptying a bottle of wine into Maggie's glass.

JOEL		Here's to crazy bush pilots.

MAGGIE		And to neurotic New York doctors.

They clink their glasses and drink.  Maggie downs her glass in one
long swallow.

JOEL		More? (pointing to the empty bottle)

MAGGIE		(standing up) I'll get it. 

Maggie goes over to the bar, interrupting Holling, Shelly and Williams.  
We see Shelly pull a bottle of wine down from a shelf.  Maggie shakes her
head, and Holling reaches under the bar.

HOLLING		Are you sure you want it, Maggie?  You told me to hold it
		for you for a special occasion...

Maggie nods and takes the bottle.  She returns to Joel.  We see Holling
watching this from the bar, somewhat concerned.

JOEL		Thanks. (looking at the bottle, impressed) You have good taste,
		O'Connell.

MAGGIE		(coyly) Sometimes.

JOEL		Definitely tonight.

MAGGIE		You know, Fleischman, sometimes you're almost alright.

Maggie starts playing footsie with Joel as they continue to eat and
drink.  Joel is very surprised at this, and is even more surprised when
Maggie stops and just stares into his eyes.  

JOEL		O'Connell?  Are you alright?

MAGGIE		I'm fine, Joel.  Just fine.

We cut away from Joel and Maggie to the bar, where Chris is sitting, nursing
a beer.  He watches the scenes happening around him with detached interest, like
a scientist observing an experiment.  We then sweep around the Brick, catching
all the regulars interacting with the visitors, and then we see Joel and Maggie
get up, and stagger to the door. We CUT TO:

A cottage sitting on a small pond, later the same night.  This
is Maggie's temporary home.  We hear a truck drive up, and just as it comes
into view, we hear giggling laughter from inside it.  The truck stops and
Maggie gets out, then helps Joel out.  Maggie takes Joel's arm and leads him
up the steps to the house.  She opens the door and enters, half dragging Joel
in with her.

MAGGIE		Here we are, home at last (pulling Joel into the "living
		room", a big space in the center of the cottage, with a
		plush sofa and a small table) Right here, Fleischman
		(Maggie sits Joel down on the sofa) Are you ok?

JOEL		(looking arond dazedly) Fine, O'Connell.  Nice place you've
		got here.  Very min...min...minimalist.

MAGGIE		Maurice is letting me stay here until I can get a new place
		of my own.   

JOEL		(beginning to sober up just a little) How noble of him.

MAGGIE		(sitting down on the sofa next to Joel) It was very nice of
		him...(Maggie puts her arm around Joel) Very nice, just like
		tonight.

JOEL		(nervous) Yeah, it was (edging away from Maggie, but not very
		far.  Her arm is still around him).

MAGGIE		You know something?  You're the first person to see this place
		since I moved in (she moves closer to Joel again).

JOEL		Besides you.

MAGGIE		Besides me (gets very close to Joel now).

JOEL 		It's really a very nice place.  Everything blends together
		so well (Joel is very nervous now).

MAGGIE		Yeah, everything (she kisses Joel on the lips.  Joel is
		shocked).

JOEL		O'Connell?

MAGGIE		Like you said, everything here fits together (Maggie kisses 
		Joel again, this time very passionately.  After a few seconds,
		Joel returns the kiss.  Maggie moves on top of Joel, wrapping 
		her arms and legs around him).

JOEL		O'Connell, what...why...(Joel makes a sound that is partly
		surprise and partly pleasure as Maggie kisses him for a third
		time.  This time, Joel responds more fully, putting his arms
		around Maggie.  They continue to kiss and grope...)         

				END ACT ONE

				ACT TWO

We open on: Main Street, the next morning.

CHRIS		(voiceover) You know, folks, I've never had a night quite
		like last night.  I couldn't sleep.  All I can think is that
		it was some kind of warning from my subconscious, some
		impending danger that was just beyond my knowledge.  The Bible,
		in the Book of Genesis tells us that "a horror of great
		darkness fell upon him."  That's exactly what it was, great
		darkness.  I don't know what lurks there, but I fear it.  
		(at this point, we CUT TO the studio and see Chris talking.
		He is silent for a few seconds, then:) On the other hand,
		and the brighter side, it's a beautiful, sunny 30 degrees
		outside this morning, and it looks like a wonderful day,
		darkness or not.  And, I almost forgot this, best wishes go 
		to Marilyn Whirlwind and Ed Chigliak, who should right now be in
		Fairbanks for the Third Annual Great Northwest Film Festival.
		Our thoughts are with you, guys!  Have a great morning, Cicely!

We CUT TO Main Street, and we follow Allison down the street to Joel's office.
She enters, but no one is there.  She leaves and goes to
Ruth-Anne's store.  

ALLISON		Do you know where Dr. Fleischman is?

RUTH-ANNE	His office?

ALLISON		Nope.

RUTH-ANNE	His house?

ALLISON		Where exactly is that?

Ruth-Anne gives Allison directions, as we FADE TO:

Joel's hose, a few moments later.  We see Allison get out of a car, go up
to the house, knock on the door, and then wander away, somewhat surprised.  
We then CUT TO:

Maggie's house.  We see Joel and Maggie's clothes on the floor, and Joel
and Maggie, naked, under a blanket, laying on the sofa.  Maggie runs her hand
through Joel's hair and smiles sweetly at him. 

MAGGIE		Do you have any idea how long I've wanted to do that?

JOEL		What, touch my hair?

MAGGIE		That, and...last night...everything.  With all that's happened
		lately...you, us, the thing in Seattle, my mom, everything...
		I needed this, needed you, Joel!  Joel, Joel, Joel, Joel, Joel!
		I needed this so bad...

JOEL		I...I don't know what to say.

MAGGIE		Say you'll stay with me a little longer.

JOEL		(kissing Maggie on the forehead) Sure thing, O'Connell.

CUT TO: The Brick, that afternoon.  Chris, Maurice, Marvin and Sarah are
at a table.  Holling watches from behind the bar.

MARVIN		Maurice, I've got the...

SARAH		...Drawings.

MAURICE		Thanks.

SARAH		(pointing to one of the sheets, which Marvin has just laid
		on the table) Right over here, by Caribou Pond, here's the
		health spa, and...

MARVIN		...Over here, right by that is the indoor swimming pool.

MAURICE		Very impressive.

MARVIN		Do you really think so?  We hoped...

SARAH		...You'd like it.  If you want to look at the plans overnight...

MARVIN		...Be our guest.

CHRIS		(looking at the plans, then pointing) What's this over here?

SARAH		Housing.

MARVIN		For all the employees.

SARAH		About 3,000 or so.

CHRIS		(rolling his eyes) Ah...I see.

MAURICE		And this (pointing) must be shopping and other facilities
		for them?

SARAH		Right! 

Holling shakes his head sadly, as we CUT TO:

Joel's office, about the same time.  Joel is examining Williams when Allison
and Tommy walk in.  

JOEL		Who let you in?

ALLISON		No one.

JOEL		Didn't Marilyn - no, she's not there, right.  I keep forgetting
		she left for the week. 

ALLISON		Right.  I'm Allison, by the way.  Allison Jennings (she shakes
		Joel's free hand - his other one is holding a thermometer), and
		this is my brother Tommy.  He's also a doctor.

Allison is staring intently at Joel, and looks like she's ready to tell him
something, but then she breaks eye contact.  Joel is puzzled, and at a loss,
as if there is something he should know, but doesn't.

JOEL 		Really?

TOMMY		Graduated from NYU, 1988, and I just finished my residency
		two months ago.

JOEL		Congratulations!  Where are you going to practice?

TOMMY		I haven't decided yet.  I'm still waiting for the right
		job, someplace where I can settle down.

ALLISON		It's funny.  Tommy's looking for something just like YOUR
		job, Dr. Fleischman.

JOEL		It's Joel, please (Williams coughs lightly, and Joel remembers
		that he's still examining him).

WILLIAMS	Dr. Fleischman?

JOEL		It's only a cold.  Take a couple of asiprin, you should be
		fine. (to Tommy) You want to work in a place like THIS?

Allison and Tommy both nod their heads.

JOEL		I always KNEW NYU people were a little weird, but...why
		in heaven's name would you want to work here?

TOMMY		It's a beautiful, peaceful place.  I could be happy here.

ALLISON		Maybe you could tell us more about Cicely over dinner...

JOEL		Dinner?

ALLISON		You and me and (she looks hesitantly over at Tommy) Tommy.
		Say around 8ish?

JOEL		Sounds...peachy, I guess.  I'm sure Mag - never mind.  I guess
		I can scrounge something up.

TOMMY		No!  Don't go to any trouble, Joel.  We'll bring something.

ALLISON		(winking at Joel) Definitely.

Allison and Tommy leave.  Joel sits at his desk, watching them walk out, trying
to think of something, something he should be remembering.  After a couple of
moments, he gets up and leaves.  We follow him over to Ruth-Anne's store.

JOEL		(entering) Ruth-Anne?  Have you seen Maggie today?

RUTH-ANNE	She said she was going out to work on her plane...why?

JOEL		No reason...no reason at all...(backing out the door) Thanks!

Joel goes to his truck and drives off.  CUT TO:

The Brick, early evening.  Williams enters, and walks over to Shelly, who
is behind the bar.

SHELLY		What can I get you, Mr. Williams?

WILLIAMS	No, that's my first name.

SHELLY		That's pretty weird, isn't it?

WILLIAMS	It's a family tradition.

SHELLY		Oh.  Sorry.

WILLIAMS	No problem, I get that all the time.  Look, I just wanted
		to talk to you about...well, remember what we were talking
		about last night?

SHELLY		Yeah?

WILLIAMS 	I got the feeling Holling didn't like the idea too much.

SHELLY		Yeah.  Holling's a pretty traditional kind of guy.

WILLIAMS	But you're not such a traditional kind of girl...

SHELLY		What are you getting at, mister?

WILLIAMS	Just that maybe you could talk to Holling about it.  There's
		a lot of money involved.

SHELLY		You can't just buy me, buddy!

WILLIAMS	No, of course not!  But if you could just think about it...
		there's no risks involved, all I'm asking is for the rights to
		use characters that'll be something like you and Holling for 
		the TV show...you'd be like Sam and Diane on "Cheers".

SHELLY		We don't have to do anything?

WILLIAMS	No.

SHELLY		I'll talk to him.  But that's all I can promise you.

CUT TO: Joel's House.  It is later that evening.  Joel, Allison and Tommy 
are ating Chinese food.

JOEL		This is really good...I haven't had Chinese since...(he
		thinks back to the "adoption" episode) never mind.

TOMMY		Isn't this incredible?  Even up here, unspoiled and
		natural as everything is, we can still get Chinese food.

JOEL		It's not completely uncivillized up here.  Just mostly.
		(Joel stares at Allison for a moment) I'm sorry, I didn't
		mean to stare, but...I just feel like I know you from
		somewhere...

ALLISON		You do.

JOEL 		What?

ALLISON		I'm not surprised you don't remember, Joel.  Bronx Science?
		Class of '82?  Remember Allison Randell?

JOEL		(trying to remember) Yeah, I...Yeah!  I remember now.

ALLISON		I changed my name when my parents divorced, when I was
		a sophomore in college...and I lost a bit of weight, and 
		9 years do a lot to change your looks...but not with you,
		Joel.  you look almost exactly the same as the day you 
		graduated.

JOEL		I can't believe I forgot...you look so different, it's like
		you're a totally new person!

ALLISON		I am.

There is silence for a moment, and then Tommy clears his throat and changes
the subject.

TOMMY		You know, Dr. Fleischman, you're very lucky?

JOEL		How so?

TOMMY		To be working here, in Cicely.  I'd love to have your job.

JOEL		You want my job, you got it!  If only it were that easy...

ALLISON		Maybe it is...

We CUT TO: The Brick, about the same time.  Maggie is talking with Chris and
Shelly.  We see Holling standing behind the bar, listening.

MAGGIE		Chris, what's with these Escapee people?

CHRIS		That Urban Escape group?  They're vacationing here.

MAGGIE		That's it?

CHRIS & SHELLY	No (they look at each other, surprised at both saying the
		same thing).

CHRIS		What'd they want with you?

SHELLY		It's kind of silly, I think.  That guy Williams, he's a TV
		producer...he wants to make a TV show about us.

MAGGIE		Really?

SHELLY		That's what he said...hey, Maggie (Shelly stares at Maggie),
		are you alright?  You look...different, like...well...back
		when...(Chris gives Shelly a cold stare, and gestures for her
		to shut up) no, I guess I'm seeing things.

MAGGIE		I don't look any different, do I? (Maggie is very self
		conscious now) No, why would I look any different? (Maggie
		finally realizes that Chris and Shelly don't know about her
		night with Joel.  She thinks briefly about telling them, but 
		decides against it)  No, there's nothing different, nothing 
		at all.

CHRIS		Maybe you're just tired, Maggie?  Go on home, get some sleep...
		you'll feel better in the morning.

MAGGIE		Yeah, that's it (she gets up and leaves).

We FADE OUT of the Brick, and back to Joel's house.  It is later, and Tommy
is about to leave.

ALLISON		I'll see you later, Tommy.  

JOEL		Be careful.  It's getting bad out there (as Joel says
		this, we hear wind rattling the windows, and we see
		heavy snow falling).

TOMMY		Don't worry about me...I love this weather! (to Allison)
		Bye, sis!

Tommy leaves, and the wind slams the door shut behind him.

ALLISON		Now we can get down to business.

JOEL		I thought you people weren't supposed to discuss business
		on your vacation?

ALLISON		You'll like this business.

JOEL		(looking very nervous) I will.

ALLISON		Trust me, you'll like this.  How would you like to get out
		of this town and back to civilization?

JOEL		I thought you liked Cicely?

ALLISON		Tommy does.

JOEL		And you don't.

ALLISON		No more than you do.  It's got a certain charm, I guess,
		but that wears pretty quickly.

JOEL		What's all that got to do with me?

ALLISON		Tommy loves it here.  He can take your job.

JOEL		That's nice, except for my contract.  

ALLISON		My father's a lawyer...a good one.  He can get anybody
		out of anything.  And he's also very rich...he can pay
		Alaska back for all that scholarship money.

JOEL		How do you know about that? 

ALLISON		Maurice told us about it the first night.  He was very
		proud of himself for getting you up here.

JOEL		Speaking of Maurice, he'll probably kill me when he
		finds out about all this.

ALLISON		No he won't.  Marvin and Sarah will get him to agree to
		Tommy taking your place as part of the hotel deal.

JOEL		Hotel?

ALLISON		Right.  You probably haven't heard.  Marvin and Sarah
		want to build a hotel and resort complex here in
		Cicely.

JOEL		And Maurice went for it hook, line and sinker.

ALLISON		Exactly!

JOEL		That's all fine and dandy, but why the interest in me?  
		It was years ago, Allison.  I remember how it was, but
		we were both kids then!

ALLISON		Kids?  We were both pretty grown up for 18, I thought!  And
		you knew then exactly what you wanted to do, and you did it...
		although I don't think you planned (she gestures to indicate
		not just the house, but the whole town) this, did you?

JOEL		(laughing ironically) No...but what happened between us is
		over and done.  And anyway, I met someone else.

ALLISON		Elaine.

JOEL		How'd you know about her?

ALLISON		Joel, I loved you!  I made sure I knew everything that was going
		on with you...I always thought you would get tired of her
		eventually.

JOEL		Not quite.  It was more the other way around.

ALLISON		(sadly) I know.  I'm really sorry for you.  

JOEL		Thanks, I think.

ALLISON		Please, Joel.  Think about it.  We had something special...you
		remember how it was, and it could be like that again...

JOEL		Could it?  You're just being romantic.  Selective memory.
		Happens all the time, remember the good parts, forget the
		bad.

ALLISON		I loved you, Joel Fleischman!  And I remember how I felt then,
		and I can still feel it now, and I remember exactly how it felt
		when I found out about you and Elaine, and then when she got
		married, I thought...maybe...maybe you'd remember, maybe you'd
		still have some of those feelings, too.  And then I found out
		what you were doing, up here in Alaska, and I thoguht, maybe now
		it could work again...

Joel is shocked by this outporing of emotion, and is speechless.

ALLISON		Joel!  Please, think about it!  There's a position open at
		NYU Medical Center, high paying, very prestigious, and
		there's a condo on Park Avenue, my father will give it to you...
		to us, if you, if we...

JOEL		But you hardly know me anymore!  What makes you think I'm
		the same person I was back then.  A lot has changed.  What
		makes you think I still have the same feelings for you?

ALLISON		I know this is a lot all at once, and I know that you might not
		feel the same way, but, please, won't you at least give it a
		thought?  Maybe if...if you think about us then, maybe...
		please, just think about it, Joel?

Joel and Allison stare into each other's eyes for a few moments, and then 
Allison gets up to leave.

ALLISON		Well, I'd better go...I hope I...you...

JOEL		(helping Allison with her coat) Allison, I don't know what to
		tell you, except...I'm thinking about it already...

After Allison leaves, Joel sits on his floor and contemplates his situation.	
We FADE OUT.
				
				END ACT TWO

				ACT THREE

Open in: The Brick, still that night.  It's snowing very heavily out,
almost enough to be described as a snowstorm.  Maurice is sitting with
Marvin and Sarah, who are selling him on the hotel idea.

MAURICE		These plans are very thorough (hands the plans to
		Marvin).  I'm impressed.

SARAH		We hoped...

MARVIN		...You would be.

SARAH		Yes, Maurice.  Our designers worked overtime to get them
		ready.

MAURICE		Assuming I agree to all this, when would you actually
		start building?

MARVIN		Within 6 months.

SARAH		At the latest.

MAURICE		That soon?

MARVIN		Easily.  There should be no problem with zoning permits.

SARAH		And you can certaily convince the townspeople to go along
		with it.  I'm sure they all look up to you as much
		as we do...

MAURICE		Of course.

MARVIN		Do we have an agreement?

MAURICE		(a little uncertain) Yes (shakes Marvin's hand).

SARAH		We'll have contracts up here for you to sign tomorrow.

MARVIN		It's a pleasure doing business with you, Maurice.

We MOVE TO: the kitchen.  Shelly and Holling are there.

SHELLY		Holling?  Babe?

HOLLING		(lost in thought) What?  Oh, sorry, Shelly.

SHELLY		What's wrong, babe?

HOLLING		These visitors.  These new ideas...hotels, TV shows...it's
		all too much.

SHELLY		I know it's all going a little fast, but that's what things are
		like out there in the world...I mean, it's just like, you
		finally get used to the new Madonna song, and then Paula
		Abdul comes out with one and they don't play Madonna anymore,
		and you have to get used to that...

HOLLING		Paula who?

SHELLY		(realizing she's not getting her point across) Never mind,
		babe.  The thing is, this Williams guy and his TV show, it
		really sounds like a cool idea.

HOLLING		I don't know, Shelly...it seems so crazy, making a TV show
		about us.

SHELLY		All we have to do is sign some contracts, and that's it...we'll
		never see Williams again...he'll just send us a check, and
		we can pretend like nothing ever happened.

HOLLING		I suppose...

SHELLY		And you could really use the money, babe.  You still owe
		for those taxes and all.

HOLLING		You're right, Shelly.  I guess I'm just being silly about
		this.

Shelly hugs Holling, as we CUT TO:

Ron and Eric's motel, just outside town.  Sarah and Marvin are in the lobby, 
drinking mineral water, when Williams walks in.

SARAH		Williams!  How's your vacation?

WILLIAMS	Incredible!  I had the hottest idea, and - (cuts himself off,
		remembering he's not supposed to talk business) it's very
		restful here.  Really.

MARVIN		Oh, don't bother hiding it.  I broke my own rule the first day.
		Sarah and I are working on a development deal with  - what's 
		his name?

SARAH		Maurice

MARVIN		Right, Maurice.  Thinks he's the local bigshot.  Anyway, we're
		going to build a hotel complex here.

WILLIAMS	Sounds fantastic...

SARAH		Definitely.

We CUT TO:

KBHR, still later that night.  Chris is alone, on the air.

CHRIS		It's about bedtime, Cicely.  It's 10 degrees and snowing
		heavily, the worst snow we've had in three years.  It's
		beautiful out there, nature's way of letting us know that
		she's still kicking around, just in case we forgot.  But it's
		also a disturbing kind of beauty, because...it's threatened
		somehow.  I don't know what exactly is going on, but I'm
		afraid.  Afraid for it, and for us.  Sometimes we forget 
		that there's a world outside us, outside Cicely, and it's
		moving awfully fast.  Maybe the reason we're all here in
		Cicely is to get away from all the changes (Holling silently
		enters the room at this point.  Chris notices him, but
		keeps talking)...but I think those changes have followed
		us here, and maybe if we like things the way they are,
		we have to make a stand against them.  Give it a thought,
		everybody.  Good night, Cicely.

Chiris pushes the microphone away and turns to Holling.

CHRIS		What's shaking, Holling?

HOLLING		Like you said, Chris.  Changes.

CHRIS		Marvin and his friends got you down?

HOLLING		(nodding his head) Shelly bought into their nonsense...a TV
		show about us...that's crazy...isn't it?

CHRIS		I don't know anymore, Holling.

HOLLING		They ARE offering a lot of money.

CHRIS		If you're worried about the money you owe me, don't be.  You
		can take as long as you need for that.

HOLLING		It's not just that...it's Shelly.

CHRIS		She's really into the TV thing?

HOLLING		Yes.  I don't want to disappoint her, or...

CHRIS		I know how that one goes, Holling.  You have to follow
		your own heart, not hers.  If you really don't want to do
		this and she knows it, she'll hate herself for dragging
		you into it, and you'll be angry at yourself for selling
		out, and at her for making you do it.  Don't mess with that,
		Holling.  Do what YOU think is right...

HOLLING		Thanks, Chris.

FADE OUT, and FADE IN to: Morning.  We see Joel's truck push through the
snowy street to his office.  Joel gets out and goes into his office, muttering
about the wet snow that's getting into his shoes.

JOEL		Marilyn?

Joel looks around the office for any clues as to where Marilyn is.  He
even searches her desk, and finally throws his hands up in defeat, and then
remembers that she's gone for the week.  He is so preoccupied with Allison and
Maggie that he completely forgot about Marilyn's trip.  After that, he sits
down to read a magazine.  After a moment, there's a knock at his doorway.

JOEL		Yes?

ALLISON		(stepping in) good morning, Dr. Fleischman.

JOEL		It's Joel.  I thought I told you that last night.

ALLISON		You did.  I was just checking.

JOEL		Ah...

ALLISON		Did you think about anything last night?

JOEL		A lot of things.  Internal medicine, condominimums, lost
		opportunities.

ALLISON		Not lost.

JOEL		(thinking of Maggie) I think we're talking about two different
		things.

ALLISON		I called home last night.  I talked with my father, and he
		says that everything is lined up.  All you have to do is give
		me the word and it's done.

JOEL		And what about us...are we lined up, too?

ALLISON		That might take a little longer.

JOEL		(standing up, approaching Allison) not for me (Joel
		kisses Allison).

CUT TO: The Brick.  Holling is behind the bar, talking with Williams,
who is drinking a bottle of mineral water.  It is around 11 AM the same
morning, and we can hear the wind start to blow heavily again.  

WILLIAMS	Bit of a storm out there, isn't there?

HOLLING		Haven't seen one this bad in a couple of years.

WILLIAMS	(bored) Really, that's very interesting.  I just wanted
		to ask you, have you thought at all about...

HOLLING		Your TV show?  Yeah, I talked it over with Shelly, and
		I guess we're going to go ahead with it.

WILLIAMS	Great!  I knew you'd come around.

HOLLING		I have to tell you, it still makes me kind of 
		uncomfortable...

WILLIAMS	(brightly) You'll get used to it soon enough, don't worry.

HOLLING		(unhappy, but trying not to show it) I suppose...

As Williams leaves, Maurice sits down at the bar.

HOLLING		What's happening, Maurice?

MAURICE		The big deal!  Those people from the escapee group, they want
		to build a big hotel and a whole resort complex here.

HOLLING		Your dreams are coming true, I guess.  It seems like it's
		going around.

MAURICE		What do you mean by that?

HOLLING		Well, Williams, he's with that escapee group or whatever
		they're calling themselves, he wants to make a TV show,
		starring the Brick.  How do you like that?

MAURICE		The Brick?

HOLLING		Yeah.  He said it's a natural idea, because the whole
		town comes here, and there are a lot of stories here.
		Personally, I think it's all a bunch of hogwash.

MAURICE		(laughing) Holling Vancour on TV!  Who would've thought it?

HOLLING		Not me.

MAURICE		What did Shelly think of the idea?

HOLLING		She loved it.

MAURICE		It figures.

HOLLING		Yeah.

MAURICE		I guess we'll both just have to get used to changes...

CUT TO: The Brick.  Joel is sitting alone at a table when Maggie arrives.
arrives.  Maggie is VERY bright and chipper when she sees Joel.

MAGGIE		Joel!  I didn't see you last night!  What were you, hiding
		out?

JOEL		(awkwardly) Something like that, O'Connell.  What's up?

MAGGIE		Lunch!

JOEL		What?

MAGGIE		Lunch, as in let's go get some.

JOEL		I can't...I've got a lot of paperwork to do, licensing
		forms, my taxes, all that kind of thing.  

MAGGIE		Later, then?  Dinner?

JOEL		OK, but late, alright, O'Connell?

MAGGIE		Sure.  About 10 or so?  I've got some more work to do
		on my plane, anyway.

JOEL		Fine by me.

Maggie leaves, and Joel is left alone at his table.

JOEL		Holling!  How about a beer?

Shelly, who is behind the bar with Holing, goes to get Joel his beer, but
Holling waves her off, and approaches Joel.

HOLLING		(a little uncomfortable) Sure, Joel...but...I'm going to have
		to ask you to pay up your tab, and its cash only from now on. 

JOEL		What?  I've always paid up on it!

HOLLING		Yes, Joel, but...i's just that, if something were to happen
		to you, something...bad...I'd be out a bit of money...and with
		my tax problems and all, you know.

JOEL		(suddenly realizing what Holling's talking about) What? 
		This has to do with me and...no!!!  That's crazy!

HOLLING		I'm sorry, Joel.  It's cash only for you from now on.

We CUT TO: Ruth-Anne's store, in the early afternoon.  The snow has begun
to fall again.  Shelly trudges in.

RUTH-ANNE	Shelly!  Haven't talked to you in a while...how have things
		been?

SHELLY		Awesome!  This TV producer guy wants to make a show about
		us.

RUTH-ANNE	Really?  About Cicely?

SHELLY		Mostly about me and Holling, The Brick...he said it would
		be like "Cheers", but in Alaska...

RUTH-ANNE	That sounds...interesting.  How does Holling feel about
		it?

SHELLY		Well...that's the only problem...he isn't real happy with
		it, but he agreed to go along with it anyway.  I know he's
		a little behind the times sometimes, and that's part of what
		I like about him, but...

RUTH-ANNE	But what, Shelly?

SHELLY		There's a lot of money if we do it, and he needs it to pay
		off the taxes, and pay Chris, and...

RUTH-ANNE	I see what you mean.  Why do YOU want to do it, Shelly?

SHELLY		Well...being on TV - well, it wouldn't actually be us, they'd
		use actors, but still - it would be really cool to be famous,
		and important and all that.

RUTH-ANNE	I don't know, Shelly.  I don't think fame is all it's cracked 
		up to be...

SHELLY		I was thinking about that...I really don't know...I want 
		the money, and to be on TV and all, but there's a little
		part of me that doesn't...do you know what I mean?

RUTH-ANNE	Yes, dear.  It means you're growing up...

SHELLY		I AM grown up!

RUTH-ANNE	The Shelly who Maurice brought up here would have gone ahead
		with this TV thing with or without Holling, and without
		a second thought.  But you - you're a heck of a lot
		smarter than that silly little girl...at least, I'd
		say so.

SHELLY		Thanks...I think.  

RUTH-ANNE	Do yourself a favor, Shelly.  Go on home and think about this
		whole TV nonsense some more...listen to that little part of
		you that's saying no...

SHELLY		I will...thanks, Ruth-Anne.

We CUT TO: KBHR.  Chris is looking for a record to play when Maggie
walks in.  It's late afternoon.  

MAGGIE		Chris?

CHRIS		What can I do you for, Maggie?

MAGGIE		I've got a problem.

CHRIS		Shoot.

MAGGIE		Well, I...did something the other night, and I don't know...
		I don't know if it was the right thing to do or not.  I liked
		it...it was...great, and I felt great, but now, I don't know
		what to feel.

CHRIS		You sound pretty confused, Maggie.

MAGGIE		I am.

CHRIS		Let me see if I can help you sort this out a little.  You
		thought you needed something, and you went out and took it,
		and now you're not sure if it was really what you needed at
		all, am I right?

MAGGIE		How did you...?

CHRIS		You told me...remember yesterday in the Brick, when we were
		talking with Shelly? 

MAGGIE		Does she...?

CHRIS		No.  She's learning, but she isn't real good at picking up
		on body language, or reading between the lines, that kind
		of thing.  I am...and you are, too, Maggie.  Think about
		it...think about what you REALLY want, really need.

MAGGIE		I will...

CHRIS		One more thing...when you decide what that is, what
		you really need, be careful about how you get it.  Think
		about it really carefully.  The last temptation is the
		greatest treason, to do the right deed for the wrong reason.

MAGGIE		What?

CHRIS		T.S. Eliot.  Make sure of your reasons...make sure they're
		the right ones...and let me know how it all turns out...?

MAGGIE		I will.  Thanks, Chris!

CUT TO: Joel's house.  It is early evening, and Joel is alone.  He is
cleaning up, packing a few things away in boxes.  As he goes through this
process, a photograph falls on the floor.  He picks it up and looks at it.
It is a photo from his first days in Cicely, showing him and Ed eating
Caribou dogs at the county fair (from the end of the pilot episode).  Joel
stares at this photo for a few moments, and then looks at other photos he
has in a small book.  He fixes on a recent picture, him and Maggie decorating
the town hall for the election.  Joel gets up and walks around the house,
photo in hand, and then notices his toaster.  It is the four-slice toaster
given to him during his adoption (when all his possessions were taken and
replaced by other people's things).  Flashbacks from that episode should be
used here.  After the flashbacks, we see Joel sitting on the floor, cradling
the toaster.  We CUT TO:

Maurice's house.  Maurice is alone, thinking about the hotel deal, when he
hears a truck screech up out front.  He goes outside to examine it, and
he sees Edna getting out.

EDNA		Minnifield!

MAURICE		Edna!  Twice in ten years...I'm honored!

EDNA		Cut the pleasantries, Maurice.  I've got some
		important things to discuss with you.

MAURICE		You never were one for socializing, Edna.  What is it?

EDNA		Hotels and resorts and all this other garbage.

MAURICE		Where'd you find out from?

EDNA		I hear things.  I'm not stupid, Maurice.

MAURICE		No, you're not.  It's a done deal, Edna...I'm going to sign
		the contracts tonight.

EDNA		You're insane, Maurice.  You'll destroy Cicely.

MAURICE		It's progress, Edna.

EDNA		I don't want to live in a tourist trap, Maurice, and I sure
		as hell don't want to be mayor of one!

MAURICE		Things change, Edna...this has gone too far to be stopped
		now...there's no going back.  But you can still be mayor,
		if you want.

EDNA		For what that's worth - nothing! 

MAURICE		Don't fight me on this, Edna.  You won't win.

EDNA		I know.

MAURICE		Then...?

EDNA		Why?  Because I thought you had a little bit of sense
		left in you, Maurice.  Apparently, I was wrong.

Edna gets in her truck and leaves.  Maurice remains on his porch, staring
at the stars, and at the wilderness all around him.

We FADE TO: KBHR.  Chris is on the air.

CHRIS		It looks like the worst snowstorm in the last 9 years is
		finally winding down.  Cicely received over 22 inches of snow
		in the past 36 hours.  Maybe that's a sign that things will
		be getting back to normal soon here in Cicely.  For my own
		sake, because I like the timeless quality that our town
		has, I hope so.  Goodnight, Cicely.

Ruth-Anne walks in at the end of Chris' monologue.

RUTH-ANNE	That was very nice, Chris.  

CHRIS		Thanks.

RUTH-ANNE	And true, too.  I just had a talk with Shelly, and I think
		maybe she's a little more straightened out now.

CHRIS		I just talked with Maggie.  Same story.

RUTH-ANNE	I saw Joel yesterday, and he was very agitated.  Did he and
		Maggie...?

CHRIS		Yes, indeed.  But you don't know, and if you do, you didn't
		hear it from me.

RUTH-ANNE	Agreed.  I think it was about time, really.  Maggie hasn't
		since Rick, and Joel...when his fiancee - 

CHRIS		Ex-fiancee.

RUTH-ANNE	Ex-fiancee was here.  It was probably good for the both
		of them.  

CHRIS		I hope so.  Maggie was real confused about it when I talked
		to her.

RUTH-ANNE	Did you set her straight?

CHRIS		I think so.  I guess we'll find out soon enough.

We CUT TO: Joel's house, a little later.  Tommy and Allison are there.

ALLISON		Are you sure you won't think it over?

JOEL		Allison, I'm sorry.  I just...can't.  I can't leave.  I wanted
		to...you have no idea how bad I wanted to leave, but then...
		never mind, it's not important.     

ALLISON		I can't force you, and I don't think I'd want to even if
		I could...I guess I respect you for your principles, Joel.

JOEL		Thanks.  Tommy, I'm sorry to you, too...I know you wanted
		to stay here...you still could, if you want.  There wouldn't
		be a lot of work, but...

TOMMY		No, but thanks anyway, Joel.  Half the reason I wanted to
		stay here was for Allie's sake, so you could leave for her.

ALLISON		(hugs Tommy) You would have done that for me?

TOMMY		What are big brothers for?

ALLISON		Joel, I guess we'd better be going.  Maybe someday...I'll
		come back here, and maybe then...

JOEL		Maybe.  Goodbye, Allison.

They leave.  

				END ACT THREE

				ACT FOUR

We open in: The Brick, about the same time.  Williams enters and 
approaches Shelly.  Shelly ushers him into the back room.

SHELLY		Look...I really appreciate the deal you were trying to make and
		all, but...

WILLIAMS	Were?

SHELLY		Yeah.  I've been thinking about it, and the money's real nice,
		and being on TV would be really cool, but...

WILLIAMS	But?

SHELLY		But it's not for us.  It's just not right for Holling or me.

WILLIAMS	Not right?

SHELLY		It's not our style, that's it.  Holling couldn't live with
		himself for doing it, and I couldn't live with myself for
		making him.

WILLIAMS	It's nothing like that, really!  Won't you reconsider?
		I can talk to Holling again...

SHELLY		No!

WILLIAMS	(taken aback by Shelly's forceful answer) Well, if you
		feel that strongly about it...

CUT TO: Joel's house.  Maggie is driving up, just as Allison and Tommy
leave.  Maggie does not see Tommy, just Allison, and she suddenly gets
very angry.  As Allison and Tommy get into a car and leave, Maggie gets out
of her truck.  

MAGGIE		FLEISCHMAN!!!

Joel, on his porch, turns to look at Maggie, slips and falls, hitting his 
head on the ground.  Maggie runs up to look and see if Joel is alright.  We
see her help Joel inside, and get a bag of ice, which she holds to his
sore head.

MAGGIE		How could you, Fleischman?  After what we had?

JOEL		(groggy and a little upset) Had what?  You got me drunk
		and jumped me!

MAGGIE		You didn't seem to mind!

JOEL		No.

MAGGIE		You heartless son of a...never mind.  I've got something to
		tell you, and I want to get it over with.

JOEL		Go ahead.

MAGGIE		First, I want to know what...she...was doing here!

JOEL		Nothing...we were just talking.

MAGGIE		About what?

JOEL		Memories, second chances, that kind of thing.

MAGGIE		What do you mean?

JOEL		Nothing.  It was a long time ago.

MAGGIE		Just like us.

JOEL		Give it a rest, O'Connell.  Say what you wanted to say.

MAGGIE		(angry now) You cold, miserable...I thought I needed...
		wanted...well...you know.  I thought you felt the same
		way...I guess I used you, and I'm...sorry...for that, and
		for thinking you had any kind of feelings at all!

Maggie storms out, slamming the door behind her.  

JOEL		O'Connell?!

We FADE TO: The Brick.  Holling and Shelly are in the kitchen.  

HOLLING		Shelly, why?  I thought you wanted to do it?

SHELLY		I thought so too...but I thought about it some more,
		and I guess I didn't want to so much.

HOLLING		I hope you didn't change your mind because of me...I would
		have done it...I know you wanted the money and being on
		TV and all of that.

SHELLY		I know you would have.  That's why I love you.

Shelly and Holling kiss, as we MOVE TO: the bar.  Maurice is at a table
with Marvin and Sarah.  Allison and Tommy enter the Brick, and we see that
the snow and wind have abated.

MARVIN		Are you ready...

SARAH		...To sign?

MAURICE		I'm afraid I won't be signing.

MARVIN		What?  Are you having...

SARAH		...Cold feet?  If you need a couple of days, let us
		know!

MAURICE 	No, I don't need any more time.  I just saw the light earlier
		tonight, and I can't sell out the town.

MARVIN		That doesn't sound like the Maurice Minnifield we read about...

SARAH		...The pioneer, the trailblazer.

MAURICE		That's funny, I feel like a pioneer now more than I ever did.

We FADE TO: Joel's house.  Joel is sitting on the floor, staring at a picture
of Maggie.  After several moments, he comes to a decision.  He throws the
picture down, and gets up and goes to his truck (going outside without a coat),
and after a moment, he drives off.

We CUT TO: Maggie's cottage.  The lights are on inside as Joel drives up.
He knocks on the door, and enters even though he gets no answer.

JOEL		O'Connell?

MAGGIE		What do you want, Fleischman?  Don't you have any manners,
		coming in when I didn't answer?

JOEL		It's important, O'Connell.

MAGGIE		Make it quick.

JOEL		OK, O'Con - Maggie!  Here it is.  I don't love you.  I don't
		want to sleep with you, or live with you or spend every waking
		moment with you.  But...I...care about you.  I like you, and
		I...respect you.  I want you to be happy,and I don't want to 
		hurt you...I don't even know what love is anymore, Maggie, and I
		don't know what the word is for the way I feel about you, but 
		it's there...I just want things to be alright between us.

MAGGIE		(taking Joel's hand and leading him to the sofa and
		sitting next to him) Fleisch - Joel!  I know...I know
		how you feel.  I really thought I wanted you, I thought
		if we...you know...everything would be good again, and
		it was...so nice...it was alright, that night.  But it
		wouldn't be like that every night, would it?

JOEL		With two people like us?  No!  But I think we've got something,
		if we can figure out what it is...

MAGGIE		Like Chris told me, first you have to figure out what you
		really need, and then make sure when you go after it, you
		do it the right way.  I didn't do that when we...

JOEL		And I didn't last night.

MAGGIE		What?

JOEL		The woman you saw leaving my house?  Allison?  She offered
		to get me out of my contract and back to New York...and we
		knew each other from Columbia, and she told me she loved me...
		and I almost went with her.

MAGGIE		What made you stay?

JOEL		Memories and second chances, like I told you before...and you...
		and my toaster.

MAGGIE		Your toaster?  How did...?

JOEL		Memories and second chances.  Don't make me explain it.

MAGGIE		I won't make you do anything, Joel.

JOEL		Maggie!  Can't we be...?

MAGGIE		What?

JOEL		I don't know!  There, I admitted it!  I don't know what 
		to do with you...about you...

MAGGIE		Neither do I...but as long as we're friends, I don't
		think we can go too far wrong...

Joel puts his arm around Maggie, and they cuddle.

JOEL		For once, I think you're right, Maggie.

MAGGIE		Oh, Fleischman!  (thinks for a minute) You know, I just
		realized something...I don't love you, either! 

JOEL		Excuse me?

MAGGIE		Well, it's simple.  You're here talking to me.  You're

BOTH		STILL ALIVE!!!!!

They stay there, holding each other, as we CUT TO:

Maurice's house.  He's returning from a long evening of forgetting his troubles
with the aid of several beers, and he stops at the sight of a note taped to his
front door.  It reads: "So you finally came to your senses.  About time.  
(signed) E."  Maurices smiles at this, and stumbles inside.  We fade to

Main Street, the next morning.  The sun is shining and the weather is
beautiful.  We hear Chris over this scene:

CHRIS		(voiceover) Goodbye to the Urban Escape group...we hope
		you had a good time here, and good luck back in your
		lives!  And also welcome back to our own Marilyn and Ed,
		who are returning from Fairbanks, where they attended
		the Great Northwest Film Festival, and met Martin Scorsese.
		Right now, it's 34 degrees and sunny here in Cicely.  Good
		Morning, everyone!

We CUT TO: The Brick, for the Caribou Cook-Off. Everyone is eating
Caribou burgers, Caribou dogs, Caribou-kabob, etc.  When Marilyn and Ed
enter, everyone cheers.

HOLLING		Welcome back!  We missed you two...in your honor, drinks
		on the house!

Everyone cheers again.  The scene continues for a few minutes, when
Maurice notices Williams' portable fax machine on the floor near the 
bar.  Maurice glances at Holling, who nods.  He then takes the machine and
goes outside.  Holling, then Shelly, then everyone else follow.
As everyone forms a circle around Maurice and the fax machine, Ed and
Marilyn are talking to the regulars.  We see that Joel and Maggie are
holding hands.

ED		What happened while we were gone?

Shelly, Holling, Joel, Maggie and Maurice all answer together:

ALL		NOTHING!

Ruth-Anne and Chris glare at them, but say nothing.  Marilyn just points
at the fax machine.

MAURICE		Oh, that?  You're just in time.  Holling?

HOLLING		Right here, Maurice (hands Maurice a large sledgehammer)
		(to Chris) Too bad you took down your catapult...this 
		will have to do...

Maurice smashes the fax machine with the sledgehammer.  Everyone cheers.

				THE END