The Sessions_2012

EXT.   BERKELEY, CALIFORNIA.   DAY
    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 .
    NEWS REPORTER
    ( V.O . )
    And so, Mark O'Brien graduates from Cal, one of 250 English majors to receive degrees today.
    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

EXT. SAN FRANCISCO. NIGHT
    Classic shot of the illuminated Golden Gate Bridge . SUPER CAPTION : `` A FEW YEARS LATER ''

EXT.   STREET OUTSIDE MARK'S.    NIGHT
    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
    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 .
    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 . 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
    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
    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 . 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 did n'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
    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 do n't last another two weeks?
    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 .
    MARK
    ( V.O. ; CONT 'D . )
    Basically, in spite of all the mirrors, I could n't see where I was going.

EXT. CATHOLIC CHURCH.     DAY
    Joan pushes Mark 's gurney into the sanctuary .

INT.   CATHOLIC CHURCH.    DAY
    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

INT. SIDE CHAPEL. DAY
    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 do n't think we've met.
    MARK
    No, we have n'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 do n'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.
    MARK
    Look, this is not exactly a confession. I have n'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 ca n'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 would n't worry too much about that. The question is whether you like having her around.
    MARK
    I ca n'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?
    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
    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
    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.

INT.      MARK'S PLACE.    DAY
    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 .
    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
    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.

INT. MARK'S PLACE. 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
    Mark , on a blanket , is on an outing with Amanda , Matt and another COUPLE . They are playing Scrabble .
    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.
    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 could n't leave me lying there Dried out bubble gum stuck on the underneath of existence.

INT.   BATHROOM.   NIGHT
    Amanda and her boyfriend MATT , are sharing the tub .
    MATT
    Do you touch him?
    AMANDA
    I do everything. Any other questions?
    MATT
    You do n'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
    Amanda is shaving Mark .
    MARK
    What does your boyfriend think of me?
    AMANDA
    He's an asshole. It does n'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.
    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
    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 does n'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 .

INT. SIDE CHAPEL.   DAY
    Mark and Father Brendan are huddled together in the little chapel .
    FATHER BRENDAN
    Did she reciprocate your feelings?
    MARK
    She did n't seem to.
    FATHER BRENDAN
    Sometimes people can be very shy about their emotions.
    MARK
    Well, in case she did n'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
    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 .
    ROD
    I'm Rod. I do four to twelve.

INT.   MARK'S PLACE.    DAY
    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.
    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
    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
    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 do n't know if you can quite visualize it. It's called a lateral, or sideways reverse cow - girl.
    It is obvious that Mark can not visualize it . Although she does n't give much away , we sense that Vera can .
    CARMEN
    ( CONT 'D . )
    Do n't worry about it then. It's just a question of depth of penetration. 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 would n't think was possible.

INT.   MARK'S PLACE.     DAY
    Rod vacuums the floor while Mark taps away on his typewriter . Mark looks troubled .

EXT. GREG'S PLACE. DAY
    We hear voices .
    MARK
    ( V.O . )
    Okay, shall we start?
    GREG
    ( V.O . )
    Sure.
    We hear the cassette recorder click on .

INT. GREG'S PLACE. DAY
    Greg is a handsome quadriplegic . Vera is there with Mark .
    GREG
    Oral sex is a matter of taste.
    Mark does n'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
    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
    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
    Mark looks immensely relieved . He closes his eyes .
    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?

EXT.   BUILDING.      DAY
    It is a typical , modern , multi - purpose office building . We hear the sounds of grunting , bumping and clanging .

INT.      LOBBY.    DAY
    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 wo n'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.
    MARK
    I do n't feel so good about this. Let's forget it.
    The Latino guy takes no notice . Vera is flushed and angry .
    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
    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 was n't just that polite people did n'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.
    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?
    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 do n'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 .

INT. LAURA'S OFFICE. DAY
    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 does n'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?

INT. CHURCH.   DAY
    Rod wheels Mark into the church .

INT. SIDE CHAPEL.    DAY
    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. All I feel is shame and mortification, while other men, apparently, get pleasure. I'm sorry if I sound angry.
    FATHER BRENDAN
    Do n'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 do n't really know how to describe.
    FATHER BRENDAN
    Sorry, that was n'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 do n't know, but I think there's a difference.
    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, are n't you?
    MARK
    I think sex is a serious matter. It's one of the most persistent themes in the bible. 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.

EXT.   STREET NEAR CARMEN'S.   DAY
    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 .

INT.   CARMEN'S PLACE.   DAY
    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 does n'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
    Rod is wheeling Mark back home .
    MARK
    Great karma for the house. My God, the pressure, already. I ca n't stand it.

EXT. STREET.   DAY
    We are outside an old - style wooden house with a Volvo wagon parked in front . A phone rings .

INT.   CHERYL'S KITCHEN.    DAY
    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 do n't know, you can use the word ` Mom'.
    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 have n'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
    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?
    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
    Would n't want to paint it.

INT.   CHERYL'S KITCHEN.     DAY
    Cheryl is on the phone , holding the receiver with one hand while she puts away groceries with the other .
    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
    The iron lung pumps away . Mark is alone . He stares at the picture of the Virgin Mary .
    MARK
    Holy Mother of God, what are `` body awareness exercises''?

EXT.    STREET OUTSIDE MARK'S PLACE.    DAY
    Vera lets herself in .

INT.    MARK'S PLACE.    DAY
    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
    Does n'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
    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.
    VERA
    She has n'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 .

INT.   CARMEN'S PLACE.       DAY
    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.
    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.
    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 do n'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 do n'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.
    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.
    CHERYL
    How do you feel right now?
    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 do n't want me to touch?
    MARK
    I have normal sensitivity all over. It's just that my muscles do n'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 .
    CHERYL
    Okay, okay, I've got it. Do n'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 do n't want to hurt or injure you in any way, but it's really not sexy when you yell at me. Okay?
    MARK
    I wo n'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, do n't do that!

INT.   BATHROOM.   DAY
    Cheryl sits down on the edge of the tub and takes a couple of deep breaths .

INT.   CARMEN'S PLACE.   DAY
    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
    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
    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 do n'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 .
    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 do n'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 .
    MARK
    ( CONT 'D . )
    Are these the body awareness exercises?
    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.

INT.   CARMEN'S PLACE.   DAY
    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.
    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
    Vera wheels Mark back the way they came . She is very discreet and they travel in silence for a while . Finally , curiosity overcomes her .
    VERA
    How do you feel?
    MARK
    Cleansed and victorious.
    VERA
    Does n't get any better than that.
    MARK
    Tell me about your first sexual experience.
    VERA
    Let me think. It was n'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 did n't think it would fit. It was scary. But he was nice. I guess he could n'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 do n'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?
    VERA
    Penis sounds like some vegetable you do n'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
    Cheryl 's car is parked outside . The house is mostly dark .

INT.   CHERYL'S PLACE.   NIGHT
    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 can not 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
    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?
    JOSH
    Yes, I heard what you said. You're a saint.
    He kisses her .
    CHERYL
    Do n't forget to put the trash out in the morning.
    She turns around and goes to sleep .

INT. SIDE CHAPEL.   DAY
    Mark is in the little side chapel with Father Brendan .
    MARK
    I do n't know what I had envisaged it would be like, the first time I mean. But that was n'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 have n'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
    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
    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?
    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 do n't feel you've actually done it till you've gone all the way in.
    This does not help Mark 's state of mind .

INT.   CARMEN'S PLACE.   DAY
    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 .
    MARK
    Oh God! Oh God!
    Mark 's expression of bliss turns to one of anger and frustration .
    MARK
    ( CONT 'D . )
    Damn! Shit!

INT. SIDE CHAPEL.   DAY
    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 was n'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!''

INT.   CARMEN'S PLACE.    DAY
    Cheryl returns from the bathroom and slides back into bed .
    CHERYL
    Okay, I do n'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?
    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 wo n'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 wo n'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
    Cheryl steps out of the shower .

INT.   CARMEN'S PLACE.     DAY
    Cheryl gets into bed .
    MARK
    I'm really sorry.
    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
    Cheryl 's Volvo is parked in its usual spot out front . There is one light on in the house .

INT.   CHERYL'S PLACE.   NIGHT
    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 does n'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
    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. Again, the idea of being punished. He has never seen female genitalia before and seems quite frightened by the idea.

INT.   SIDE CHAPEL.       DAY
    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 do n'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? Do n't worry about the technical stuff. You're a poet. Be romantic.

EXT. CLOTHING STORE.        DAY
    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 .

INT.      MARK'S PLACE.     DAY
    Vera carefully does up the buttons on Mark 's new silk shirt . Mark looks thoughtful .
    VERA
    You nervous?
    MARK
    Only a little.
    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.

EXT.   CARMEN'S DRIVEWAY.   DAY
    Vera wheels Mark up to the front door .
    MARK
    You could n'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 .

INT.   CARMEN'S PLACE.    DAY
    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
    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
    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. 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
    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
    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?
    CHERYL
    You took the words right out of my mouth.

INT.   MOTEL RECEPTION.    DAY
    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
    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.
    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, Wo n'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 did n'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.
    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
    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
    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 do n'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?
    Cheryl gets up and goes to the bathroom . Mark is obviously affected by her question .

INT.   SIDE CHAPEL.    DAY
    Mark has a faraway look .
    MARK
    She either forgot to close the bathroom door, or did n'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
    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
    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 .
    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
    Mark and Cheryl are lying together . He has his eyes closed . There is something on her mind .
    CHERYL
    You awake?
    MARK
    Uh - huh.
    CHERYL
    To answer your earlier question, I grew up in Salem, brought up Catholic, like you, but the church did n'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 did n'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 did n'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, does n'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?
    CHERYL
    He knows I'm a sex therapist. There's a certificate on the wall. But he has n'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.
    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 do n't know what you were thinking about.
    MARK
    I'm sorry, I could n't tell one thing from another. It was all a jumble of sensations.
    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 did n'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
    Laura is on the phone to Cheryl .
    LAURA
    How's it going?

INT.   CHERYL'S PLACE.    DAY
    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
    LAURA
    That's very funny.

INT.   CHERYL'S PLACE.    DAY
    CHERYL
    I guess. Yes, it is.
    LAURA
    ( V.O . )
    What do you think of him?
    Cheryl thinks .

INT.   LAURA'S OFFICE.    DAY
    LAURA
    I said, what do you think of him?
    CHERYL
    ( V.O . )
    I like him.

EXT. STREET OUTSIDE MARK'S PLACE. NIGHT
    Father Brendan approaches and arrives at the front door . He rings . Rod lets him in .

INT.    MARK'S PLACE.    NIGHT
    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.
    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
    As usual , Cheryl 's car is out front .

INT.   BEDROOM.   NIGHT
    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
    Do n't believe you.
    CHERYL
    Okay, I've been thinking about the whole conversion thing.
    JOSH
    Still do n'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
    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
    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
    Mark is in his iron lung .
    MARK
    Can we meet somewhere for a coffee? Somewhere nice. My treat.

INT.   CHERYL'S PLACE.    DAY
    CHERYL
    I do n't normally meet with clients outside of working hours, you know that.

INT.    MARK'S PLACE.    DAY
    MARK
    How could you possibly describe anything to do with me as normal?

INT.   CHERYL'S PLACE.    DAY
    MARK
    ( V.O . )
    We do n't have to talk about business.
    Cheryl smiles .

EXT.   CAFE.   DAY
    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 do n'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 .
    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 had n'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?

EXT.   CHERYL'S PLACE.   DAY
    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
    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 did n'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 .
    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
    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 can not 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
    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 did n't. I'm fine.
    JOSH
    You sure?
    CHERYL
    Yes, I promise.
    JOSH
    Really?
    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 .

INT.   CHERYL'S PLACE.   NIGHT
    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
    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 .

EXT.   STREET OUTSIDE MARK'S PLACE.   DAY
    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
    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.
    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
    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
    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 was n't.

INT.   SIDE CHAPEL.    DAY
    MARK
    I had this faint hope that she would show the merest hint of jealousy. It shows you how naïve I am. 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
    Cheryl 's car is in the parking lot . We see her draw the blinds .

INT.   MOTEL RECEPTION.    DAY
    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 do n'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, are n'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.
    VERA
    I do n'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
    Mark and Cheryl are in bed , their faces close .
    MARK
    Boy, am I glad to see you.
    CHERYL
    Do n'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
    MARK
    The first time, I really did n't know what was going on. Technically it all happened, but nothing really happened in my head. 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
    Amanda is giving Mark a pole dancing demonstration , complete with disco beat and mirror - ball lighting .

INT.   MOTEL ROOM.    DAY
    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
    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 .

EXT.   CHERYL'S PLACE.   NIGHT
    The Volvo is parked out front . The envelope is still on the dash .

INT.   CHERYL'S PLACE.      NIGHT
    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
    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 could n't believe it.
    We hear the sound of typing .

INT.    MARK'S PLACE.      DAY
    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
    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.
    Cheryl 's actions follow Mark 's description .

INT.   SIDE CHAPEL.    DAY
    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
    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
    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
    They are still in the same intimate position .
    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.

INT.   MOTEL RECEPTION.   DAY
    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.

INT.    MOTEL ROOM.   DAY
    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 does n'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.
    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 does n't come in to it.
    MARK
    Yes, it does. I do n'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 . 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 had n'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
    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 .
    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
    Vera wheels Mark home . They travel in silence .

INT.   SIDE CHAPEL.    DAY
    Father Brendan and Mark are together in the chapel .
    MARK
    I felt I'd just been through a ceremony that I did n'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 ca n'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
    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 is n't enough to patch over the rage. I pound the insides of my mind with words, such puny fists, And nobody hears.
    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
    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
    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 .

INT.   MIKVAH (JEWISH RITUAL BATH-HOUSE).    DAY
    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 do n't think you'd understand.
    MIKVAH LADY
    You can try me.
    CHERYL
    Okay. I'm a housewife.
    MIKVAH LADY
    Why should n'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.
    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
    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
    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.

INT.   HOSPITAL.   DAY
    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 do n'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 .
    MARK
    I'm sorry, I do n'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 could n'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 do n't go to any church and I do n'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
    She smiles . Mark is loaded into an ambulance .
    SUSAN
    Bye. Take care.
    MARK
    There's just one more thing I want to tell you.
    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
    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, is n't it?
    MARK
    The best.
    AMBULANCE OFFICER
    Good to be alive, huh?

EXT. HOSPITAL.      DAY
    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
    Rod shows Father Brendan into Mark 's room . 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 .
    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.
    FATHER BRENDAN
    Okay, but I'll try and keep it short.
    MARK
    Do n't make it too short.
    FATHER BRENDAN
    Okay, fine. Here goes. The meaning of love. Love is a journey.
    MARK
    I already like it.
    There is a pause.
    says.
    FATHER BRENDAN
    That's it. That's all of I've got. I told you it's short. Love is a journey.
    Mark laughs.
    says.

EXT. MARK'S PLACE.        NIGHT
    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
    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
    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
    Cheryl is planting stuff in the back yard . Josh approaches her with the letter .
    JOSH
    It's from a Susan Fernbach.
    She takes it and opens it uncertainly , somehow anticipating its contents .

EXT.   CHURCH.   DAY
    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
    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 .
    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 .

    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
    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 .

Summary: In Berkeley, California, in 1988, Mark O'Brien is a 38 year old poet who is forced to live in an iron lung due to complications from polio. Due to his condition, he has never had sex. After unsuccessfully proposing to his caretaker Amanda, and sensing he may be near death, he decides he wants to lose his virginity. After consulting his priest, Father Brendan, he gets in touch with Cheryl Cohen-Greene, a professional sex surrogate. She tells him they will have no more than six sessions together. They begin their sessions, but soon it is clear that they are developing romantic feelings for each other. Cheryl's husband, who loves her deeply, fights to suppress his jealousy, at first withholding a love poem that Mark has sent by mail to Cheryl, which she eventually finds. After several attempts, Mark and Cheryl are able to have mutually satisfying sex, but decide to cut the sessions short on account of their burgeoning feelings. One day sometime later, the power goes out in the building in which Mark lives, causing the iron lung to stop functioning and making it necessary for Mark to be rushed to the hospital. However, he survives and meets a young woman named Susan Fernbach. The film then cuts to Mark's funeral, held sometime later, and attended by four of the women he came to know and care for, including Cheryl. Father Brendan gives the homily and Susan reads the poem he had previously sent Cheryl.