PHILADELPHIA

Joe crosses the room, sits on the edge of the bed.

With some difficulty, Andrew removes his oxygen mask. His
voice is raspy, weak:

                              ANDREW
                    What do you call a thousand lawyers
                    chained together at the bottom of the
                    ocean?

                              JOE
                    What?

                              ANDREW
                    A good start.

Joe smiles.

                              ANDREW (CONT.)
                    Excellent work, Joe. I thank
                    you.

                              JOE
                    It was good working with you, Andrew.
                    You're welcome.
                         (sees the oxygen mask)
                    Hey. Shouldn't you put
                    that thing back on?

Andrew begins fitting the mask back in place, but his hands are
weak. Joe helps adjust the straps behind Andrew's ears.

                              JOE (CONT.)
                    I better get home. Lisa and I
                    are having some friends over.

                              ANDREW
                         (muffled by the mask)
                    Sure thing.

Joe stands.

                              JOE
                    I'll see you, Beckett.

Andrew nods, weakly. But he's still smiling and his eyes
are dancing.

                              ANDREW
                         (through mask)
                    Thanks for coming by.

                              JOE
                    You bet. We'll see you later.

Joe heads for the door, meeting Miguel there.

                              JOE
                         (to Miguel)
                    He's looking good. I wouldn't
                    be surprised if he gets out of
                    here soon.

                              MIGUEL
                    We just want to get him home.
                    Thanks for stopping by, Joe.

Miguel puts his arms around Joe and hugs him. Joe slaps
Miguel's back.

                              JOE
                    Night.

Joe leaves.

Miguel begins circulating among the "guests," saying:

                              MIGUEL
                    He's tired. He ought to sleep.

                                        CONTINUOUS CUT TO:

JOE STEPPING INTO THE HOSPITAL ELEVATOR (INT./NIGHT), AND
saying to a GROUP OF DOCTORS and NURSES:

                              JOE
                    What do you call a thousand
                    lawyers chained together at
                    the bottom of the ocean?

The elevator doors close.

                                        CONTINUOUS CUT TO:

ANDREW'S HOSPITAL ROOM...

Matt gives Andrew's hand a squeeze, before leaving.

                              MATT
                    Night, Andy. See you tomorrow,
                    buddy.

Rev. Jim pats Andrew's shoulder.

                              REV. JIM
                    God bless you, Andy.

Bud Beckett kisses Andrew on the cheek.

                              BUD
                    Goodnight, son.
                    Get some rest, okay?

Sarah Beckett is strong, kissing Andrew on the forehead.

                              SARAH
                    Goodnight angel, my sweet boy...

Randy Beckett loses control of his emotions as he bends to hug
his brother. He begins to sob.

                              RANDY
                    Andy.

Andrew puts his weak arms, with the IV lines connected,
around his brother Randy, to comfort him.

                              ANDREW
                         (through mask)
                    I'm okay, bro. I'll see you tomorrow.

Jill hugs Andrew, giving Miguel a kiss as she leaves the room.
Maria waves goodnight from the doorway, closing the door.

Miguel sits on the edge of the bed, kicking off his shoes.

Miguel stretches onto the bed next to Andrew, picks up the
remote control, and TURNS ON THE TV.

Andrew pulls aside the oxygen mask, to say:

                              ANDREW
                    I'm ready...

                              MIGUEL
                    Ready for what, baby?

                              ANDREW
                    Whatever.

                              MIGUEL
                    I hope you're ready for "Studs,"
                    because that's what's on.

Andrew replaces the oxygen mask.

They lie next to each other, watching television.

                                        FADE OUT/FADE IN:

EXTERIOR: JOE'S HOUSE AT NIGHT, ESTABLISHING...

From inside the house: the phone rings.

                                                  CUT TO:

JOE AND LISA'S DARK BEDROOM, QUIET (INT./NIGHT) ...

Lisa is sitting up in bed, having answered the phone.

Joe is just waking up.

                              LISA
                         (to Joe)
                    It's Miguel.

Joe sits bolt upright.

                              JOE
                    Miguel?

                                                  CUT TO:

EXTERIOR: ANDREW AND MIGUEL'S LOFT BUILDING, DAY.

A TAXI ARRIVES and an elegant, well-dressed older COUPLE
step out.

                                                  CUT TO:

RACHEL OPENS THE DOOR OF THE LOFT, FINDING MIGUEL'S FAMILY
on the other side: very dignified, handsome people who have
just arrived from Spain. They enter the apartment, where...

A wake is in progress. Lots of food. People sharing stories
about Andrew. Some people laughing. one or two softly crying
as they hug each other.

Someone has set up a "memento" table, with pictures of Andrew
at various stages of his life, and things that meant something
to him, like programs from the opera, a ballcap, photos of his
favorite cat, etc.

THEME MUSIC PLAYS, but we hear BITS OF DIALOGUE under the
music ("You're Miguel's parents?" "Do you remember when
Andy..." "I went to college with Andy..." etc.)

Bud Beckett sits alone, very quiet.

Miguel leads his parents over to Bud. Bud looks up, rises,
extending his hand to MIGUEL'S DAD. Miguel's father shakes his
head in sadness, reaches for Bud and pulls him into his arms for
an embrace.

CAMERA MOVES THROUGH THE CROWD, SEEMING TO SEARCH FOR
SOMETHING...

CAMERA ZEROS IN ON THE TV SET, across the room, where BLACK AND
WHITE IMAGES ARE FLICKERING, ignored by everyone...

AS CAMERA GETS CLOSER TO THE TV, it becomes apparent that the
images are BLACK AND WHITE HOME MOVIES, converted to video...

THE HOME MOVIES FEATURE a bright-eyed LITTLE BOY...