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Pushing Daisies

"Pushing Daffodils"

by
R.A. Porter

R.A. Porter
3054 E. Capitan Dreyfus Ave.
Phoenix, AZ 85032
Phone: 916.813.9000
Email: coyotesqrl@gmail.com
ACT ONE

FADE IN:

INT. SCHOOL GYM - NIGHT

YOUNG NED in school blazer, tie, and slacks stands by a


refreshment table. The gym is decorated with streamers,
banners, and fairy lights. Some BOYS hover nearby, many more
are scattered in clots of three or more.

NARRATOR
The Longborough School for Boys
clung firmly to many traditions,
but none more firmly than the
separation of the sexes.

A tweed-clad INSTRUCTOR opens double doors. He is pushed


aside by a stream of YOUNG GIRLS, each carrying a daffodil.

NARRATOR (CONT’D)
But one day each year the musty old
school opened its doors to let in
the sweet perfume of spring, borne
on girls in crepe.

The girls spread out and begin targeting the boys. Each girl
indicates her selection with her flower.

NARRATOR (CONT’D)
After the long cold winter, the
girls of the Waverly Finishing
School augured the coming of spring
in parti-colored dresses and
carefully coiffed hair.

One SHY GIRL stands a few feet from Ned. The other girls and
boys are dancing. She casts sideways glances at Ned.

NARRATOR (CONT’D)
Young Ned did not notice the girl
standing near him. He was too busy
watching the kaleidoscope of
whirling color on the dance floor.

The Shy Girl turns to face Ned and nervously walks to him.

NARRATOR (CONT’D)
Finding untapped reserves of
courage, Lucy Winterbottom walked
right up to the dreamy young boy
adrift in his own world and said
hello.
PUSHING DAISIES - "PUSHING DAFFODILS" 2.

LUCY
(silently)
Hello.

NARRATOR
Finally noticing another person
noticing him, Young Ned turned away
from the dance floor and turned to
the young girl...

...who holds out her drooping daffodil to Ned...

NARRATOR (CONT’D)
...and saw that she wanted to join
the kaleidoscope of whirling color
with him. Deciding it would be nice
to be alone with someone else for
once, Ned accepted.

Ned reaches out to take the daffodil and there is a small


SPARK. It stands straighter and becomes a brighter yellow.

NARRATOR (CONT’D)
Clutching the flower in his right
hand, Young Ned led Lucy
Winterbottom onto the dance floor.
Forgetting his cares for a moment,
he smiled as they twirled.

The music ends and everyone stops dancing.

NARRATOR (CONT’D)
When the music stopped, the shy
young girl and the shy young boy
stood, smiling at each other.

Lucy leans in and pecks Ned on the lips.

NARRATOR (CONT’D)
But when the shy young girl did
something not so shy, Young Ned
retreated back into his protective
shell.

Ned runs out of the gym.

INT. DORMITORY - NIGHT

At his bedside, Ned carefully places the daffodil in a glass


of water. He is wearing thick skiing gloves.
PUSHING DAISIES - "PUSHING DAFFODILS" 3.

NARRATOR
It had been 42 weeks, 1 day, 6
hours and 12 minutes since the last
time he'd been kissed, the first
time he'd been kissed, by the young
girl named Chuck.

EXT. CEMETERY - DAY - FLASHBACK

Chuck and Ned’s kiss from the pilot.

NARRATOR
That was the day her father was
laid to rest, the day his mother
was laid to rest.

BACK TO:

INT. DORMITORY - NIGHT

Ned stares at the flower. Digby, next to Ned, does the same.

NARRATOR
The memory of his mother's death
was still bitter, but it was
sweetened by the memory of Chuck's
soft lips and the way they tasted
faintly of strawberry. He was not
ready to replace his memories of
Chuck's kiss but wished he had not
stopped dancing so soon. He wanted
to remember the feeling of spinning
on air above the old parquet floor.

INT. NED’S APARTMENT - LIVING ROOM - DAY

NED dusts. He stops at a VASE holding the daffodil. He sniffs


then continues, careful not to touch the flower.

NARRATOR
It was now 18 years, 4 weeks, 3
days, 11 hours, and 5 minutes since
Young Ned had been kissed by a shy
young girl on a dance floor and his
happy memories of her brought a
small smile to his face.

CHUCK steps up behind smiling Ned.

CHUCK
Watcha smiling at?

Awkwardly spinning and stumbling, Ned turns to face Chuck.


PUSHING DAISIES - "PUSHING DAFFODILS" 4.

NED
What? Hey? Oh, hi Chuck. Smiling?
Um, nothing.

CHUCK
I love daffodils. They smell like
spring.

Chuck steps around Ned and smells the flower.

CHUCK (CONT’D)
But I never see you replace it.
It's almost like
(realizing)
is it like me?

NED
No. Not exactly. You don't stand in
water all the time, for one.

CHUCK
You know what I mean.

NED
I know what you mean. Yeah, it's
like you.

CHUCK
What's its story? First flower you
ever smelled? Sixth-grade biology
project? Over-sized boutonnière
from the prom?

NARRATOR
Ned wanted to tell Chuck about the
dance, and the shy girl who kissed
him, but he was afraid how she
would take it.

NED
I want to tell you, but I'm afraid
how you'll take it.

CHUCK
I'm a big girl, Ned. I was
strangled at sea and thrown
overboard. I think I can handle
whatever this is.

NED
At school, in the spring. Every
spring, actually. There was a
dance.
PUSHING DAISIES - "PUSHING DAFFODILS" 5.

CHUCK
A dance? I thought it was an all-
boys school.
(teasing)
Did some of you have to dress up
like girls? Is that why you don't
want to tell me about the flower?
It's okay if that's what it is. You
have very nice eyes. I bet you’d
make a pretty girl.

NED
No, uh. That's not it at all. It
was another school, our sister
school. The girls came from our
sister school and brought daffodils
to celebrate spring. They'd walk up
to a boy and hand him the flower if
they wanted to dance. With him.

CHUCK
And some young girl wanted to dance
with you. That makes sense, you
were a cute little boy. I'd have
wanted to dance with you. Why were
you afraid to tell me?

NED
She might have kissed me, too. When
we stopped dancing.

CHUCK
That happens to you a lot, doesn't
it?

NED
What?

CHUCK
Girls kissing you. You should try
kissing back sometime. Or
initiating the kiss. Girls like
that. So how was it? The kiss?

NED
It was nice. I ran away.

CHUCK
Girls don't like that, so much. You
just left that poor girl standing
on the dance floor? Why?

NED
I don't know.
PUSHING DAISIES - "PUSHING DAFFODILS" 6.

NARRATOR
But the Pie Maker did know. He had
run away from his dance partner out
of fidelity to Chuck and her
strawberry lips. A scene he would
repeat many times over the years.

CHUCK
So have you been pining for her all
these years? This girl you didn't
want to kiss? Is that why you keep
this flower?

NED
No. Not at all.

NARRATOR
He lied.

INT. PIE HOLE - DAY

Ned stands at the counter, Chuck waits on a table of TWO


CUSTOMERS, and OLIVE aggressively polishes the espresso
machine. The door swings open and EMERSON strides in.

EMERSON
I love springtime.

NARRATOR
Emerson Cod loved spring for many
reasons. He loved the smell of
cherry blossoms, he loved the
return of short skirts, but mostly,
he loved the increase in the murder
rate.

Emerson glides by the counter, grabs Ned, and brings him to a


booth. Chuck slides next to Emerson before he can protest.

EMERSON
I've got us a live one.

CHUCK
A live one? Don't we usually handle
dead ones?

Ned laughs at Chuck's little joke.

EMERSON
Look here, dead girl. I put up with
you, but I don't have to put up
with your dumb jokes.
PUSHING DAISIES - "PUSHING DAFFODILS" 7.

NED
So what's the case?

EMERSON
Man got shot. We've been hired by
the widow to find by who.

NED
Doesn't she think the police will
find who did it?

EMERSON
Police think she did it.

EXT. FAIRGROUNDS - DAY - FLASHBACK

ANNA ROBLE, a Wild West performer, stands on stage with guns


in her hands. Her daughter, a YOUNG SHANNON ROBLE, is a copy
in miniature with an apple on her head. Anna shoots the apple
to rapturous applause. Off-stage, CEDRIC STUCKY watches.

NARRATOR
The facts of the case were these:
Cedric Stucky met Anna Roble when
she was an up-and-coming
sharpshooter. Just starting out as
a booking agent, Cedric had a keen
eye for talent and a great head for
negotiation.

EXT. CHURCH - DAY - FLASHBACK

Anna, Cedric, and Shannon pose on church steps. Anna glows in


a wedding gown and hip holsters. Cedric beams in a tasteful
tux. Shannon fidgets in her performing costume.

NARRATOR
Skills which served him well
courting and eventually convincing
the young performer to marry him.

INT. ANNA’S HOUSE - FOYER - NIGHT - FLASHBACK

Cedric opens the front door of the darkened house, carrying a


BOWLING BAG.

NARRATOR
Their marriage was filled with love
and bliss until two nights earlier
when...

CEDRIC
Ho--
PUSHING DAISIES - "PUSHING DAFFODILS" 8.

...a FLASH of a gun and Cedric hits the ground...

NARRATOR
...it came to an abrupt and
unscheduled conclusion.

INT. MORGUE OFFICE - DAY

Ned, Chuck, and Emerson stand before the CORONER. His office
is filled with FLOWERS: LILIES, TULIPS, and DAFFODILS.

NED
Did someone die?

CORONER
Lots of people. You have someone
particular in mind?

NED
I meant, all the flowers. I was
wondering if someone close to you
had died.

CORONER
No. Grow ‘em in my garden. Bring
'em here to brighten up the place.

CHUCK
You have quite the green thumb.

CORONER
Mnnn. You should see my zucchini
when they come in. Size of a
child's arm.

CHUCK
Do you compost, or use manure?

Emerson holds out a wad of bills.

EMERSON
You two can discuss horticulture
some other time. Right now, I’ve
got a dead guy composting.

Coroner takes the lucre.

INT. MORGUE - DAY

The threesome stand over the slab, the body still covered.
Ned throws back the sheet and...Emerson gasps at the sight.
PUSHING DAISIES - "PUSHING DAFFODILS" 9.

NED
What’s got you all bothered. We’ve
seen worse. At least this one’s
still in one piece.

EMERSON
It ain’t the stiff. It’s the shirt.

Cedric lies cold and dead in a BRIGHT YELLOW BOWLING SHIRT.


Ned gets ready with his WATCH as Emerson takes out a NOTEPAD.

NED
(On notepad)
That’s new.

EMERSON
Figure it's easier to take notes
during the minute they alive again
than after.

Chuck pulls a MINI-TAPE RECORDER from her purse.

CHUCK
I figure it's easier to take notes
after.

Emerson scowls...and puts away his notebook. Ned smiles at


Chuck. Ned STARTS HIS WATCH. Chuck ostentatiously STARTS
RECORDING. Ned reaches out and a SPARK brings Cedric back.

CEDRIC
--ney, I'm home! Oh. This isn't
right. Am I dead? I'm dead, aren't
I.

NED
I'm afraid so.

CHUCK
Do you have any last wishes, Mr.
Stucky? Any messages you'd like
delivered to your loved ones?

EMERSON
Maybe the man would just like
justice. How about that? You want
to tell us who offed you so we can
make sure justice is served?

CEDRIC
Oh, hi there. Are you an avenging
angel?
PUSHING DAISIES - "PUSHING DAFFODILS" 10.

EMERSON
Something like that. So why don’t
you tell me who killed you and I’ll
rain fire on their head.

CEDRIC
I’m afraid I don’t know.

NED
You didn’t see who shot you?

CEDRIC
Nope. ‘Fraid not. The house was
pitch black. Even the spot on the
buffalo head was out.

Ned and Chuck share a look at that odd bit of information.

CEDRIC (CONT’D)
I’d just come from dropping off
Hector and--

EMERSON
--who’s Hector?

CEDRIC
My business partner. We’d been
bowling. I dropped him off and came
straight home.

CHUCK
(pointedly)
You didn’t stop anywhere at all?
Not even for a little snack?

CEDRIC
You caught me! I stopped for a
donut. Can’t hide anything from an
angel, I suppose.

Ned and Emerson look shocked. Cedric tilts his head at Chuck.

CEDRIC (CONT’D)
Charlotte? Charlotte Charles?

OFF CHUCK

END OF ACT ONE


PUSHING DAISIES - "PUSHING DAFFODILS" 11.

ACT TWO

INT. MORGUE - DAY

The sleuths stand agape, staring at Cedric on the slab.

CEDRIC
Well I'll be. It is you, Charlotte.
I'd recognize that little crinkle
in your brow anytime. Just like
your Aunt Lily when she gets a bee
in her bonnet.

EXT. POOL - DAY - FLASHBACK

Cedric stands at the edge of a pool talking with VIVIAN


CHARLES. Both look about 20 years younger.

NARRATOR
Cedric Stucky knew talent when he
saw it, and the Darling Mermaid
Darlings were once the most
talented act around. Cedric booked
them in all the best venues until
the day they hung up their flippers
for good.

BACK TO:

INT. MORGUE - DAY

Emerson looks anxious as Chuck continues.

CHUCK
So you knew my aunts?

Ned indicates his watch to Chuck. Time is running out.

NED
12 seconds.

CEDRIC
What's he--

CHUCK
--never mind him. You knew my
aunts?

CEDRIC
Booked them all over. But with
Vivian it was--

Emerson touches Cedric with Ned's hand: dead again.


PUSHING DAISIES - "PUSHING DAFFODILS" 12.

EXT. EMERSON’S CAR - DAY

Emerson drives. Ned sits. Chuck steams in the back seat.

CHUCK
What were you--

EMERSON
--thinking I didn’t want to die.
Some of us ain’t been dead yet and
are looking to keep it that way.

CHUCK
(to Ned)
What do you think Cedric was going
to say about Vivian?

NED
I don’t know.

EMERSON
Sounds like our victim--

CHUCK
(to Ned)
--could you please tell Emerson I’m
not talking to him right now?

NED
Emerson...

EMERSON
I heard. Fine. Please tell dead
girl it sounded like our victim and
her aunt used to be an item.

NED
Chuck...

CHUCK
I heard.

They drive quietly for a moment, Emerson beaming.

NED
How did you know Cedric had stopped
on his way home?

CHUCK
He had powdered sugar on his shirt.
My father used to sneak donuts
sometimes, too.

Ned smiles to himself.


PUSHING DAISIES - "PUSHING DAFFODILS" 13.

INT. PIE HOLE - DAY

Scattered CUSTOMERS eat. Olive stands behind the counter. The


super-sleuths enter. Olive rushes to Chuck and tugs on her
sleeve. She's wired and talking even faster than usual.

OLIVE
You got a minute? Come on over and
talk with me for a minute. You can
get back to not touching Ned and
not-not irritating Emerson in a
bit.

NARRATOR
The normally effervescent Olive
Snook practically overflowed with
vim, like a bottle of carbonated
sunshine that had been shaken
vigorously by a child.

EMERSON
That's a great idea. Go talk to
Olive.

He gently pushes Chuck as Olive pulls, then guides Ned to a


booth. Olive brings Chuck to the espresso machine and starts
its brewer brewing.

OLIVE
Espresso?

CHUCK
I'm good.

OLIVE
You sure? I'm making myself one.

CHUCK
How many of those have you had
today?

OLIVE
Oh, I don't know. Three or...seven.
No, I think it's ten. Definitely.
I've definitely had twelve.

Olive pulls herself an espresso and slams it.

OLIVE (CONT’D)
Espresso? I'm making myself one.

Chuck takes Olive's hands and leads her away from the
glimmering, steaming monster and to a seat at the counter.
PUSHING DAISIES - "PUSHING DAFFODILS" 14.

CHUCK
Olive! What's wrong with you?

OLIVE
You remember Alfredo?

INT. PIE HOLE - KITCHEN - DAY - FLASHBACK

Finishing up a pie, Chuck adds drops from a VIAL.

NARRATOR
Chuck remembered Alfredo Aldarisio
well. The traveling seller of
homeopathic supplements had given
her the means to raise her aunts'
spirits in their darkest hour.

BACK TO:

INT. PIE HOLE - DAY

CHUCK
Sure.

OLIVE
He fixed our espresso machine.
Didn't much like our coffee.
Thought if we were going to take
the space up with a big old coffee
making machine we should be making
coffee with it. So he fixed it for
us. For me.

CHUCK
I didn't know that.

OLIVE
And then he went away!

Olive heads back toward the espresso machine. Chuck wraps her
arms around Olive’s waist and picks her up. Olive flails like
an upended turtle.

NARRATOR
Like a zombie, driven not by brains
but caffeine, Olive Snook was drawn
to the hot brown liquid that
reminded her of Alfredo Aldarisio.

CHUCK
Olive, it's obvious you have
feelings for him.

She puts Olive down on her stool.


PUSHING DAISIES - "PUSHING DAFFODILS" 15.

OLIVE
I know that. Don't you think I know
that? But he doesn't know I know
that. He doesn't, you know? I
ignored him and ignored him and
then he went away. And now I don't
know what to do so I just make
espresso all day.

CHUCK
That's got to stop. Olive, you have
to promise me: no more espresso!
Also no more rhyming, but mostly no
more espresso. Can you promise me?

OLIVE
No more espresso.

Olive gets up in a daze and starts walking toward the


machine. Chuck gently turns her around and back to her seat.

CHUCK
Do you know where you were going?
Just now?

OLIVE
I was going to make more espresso,
wasn't I? Oh Chuck, I don't even
realize when I'm doing it anymore.

CHUCK
That's okay. One step at a time.
Here...

Chuck reaches under the counter and comes up with a RUBBER


BAND. She puts it around Olive's wrist.

CHUCK (CONT’D)
When the urge to make an espresso
hits, just snap that.

Olive SNAPS rubber band.

OLIVE
Ouch!

CHUCK
That’s the idea...

Three more snaps.

OLIVE
Ouch! Ouch! Ouch!
PUSHING DAISIES - "PUSHING DAFFODILS" 16.

CHUCK
Okay now, stop. Only snap it once,
when the urge to have another
espresso hits.

OLIVE
That’s what I did.

CHUCK
Oh. Well, see if that helps.

INT. PIE HOLE - DAY

Huddled at a booth, Emerson and Ned discuss the case.

NED
You think the partner killed him?

EMERSON
Could be. Could be the wife. Don't
matter what I think. Matters what
we can prove.

NED
The wife?

EMERSON
90% of the time wife did it. Dead
guy was no help, so now we've gotta
talk to the widow and the partner.
Job used to be easy: you touch the
dead guy, I catch the killer, we
get paid. Ever since dead girl's
been back, it's been one problem
after another.

INT. PIE HOLE - KITCHEN - DAY

Chuck works on a PIE. Olive watches.

OLIVE
So the dead guy knew Lily and
Vivian.

CHUCK
Right.

OLIVE
But you think he knew Vivian.

CHUCK
I wouldn’t put it that way but,
yeah, maybe.
PUSHING DAISIES - "PUSHING DAFFODILS" 17.

OLIVE
And what am I doing again?

CHUCK
You’re just delivering bad news.
And if while you’re doing that
Vivian happens to open up about
Cedric Stucky, you could encourage
that.

OLIVE
Confession’s good for the soul.

CHUCK
I thought I knew everything about
my aunts. I guess I just forgot
they had a whole other life before
me.

Chuck adds a few extra drops of mood enhancer and lays on the
top crust. She then slides the pie into the oven.

EXT. EMERSON’S CAR - DAY

Ned and Emerson get in Emerson's car. The sun is bright, the
sky blue, and the top down. The car pulls out.

EMERSON
At least your girlfriend's not
tagging along like usual.

ANGLE ON CHUCK

Who seems to have popped into the back seat from the ether.

CHUCK
Hi, Emerson.

EMERSON
Hey, Chuck.

The car swerves as Emerson turns around suddenly.

EMERSON (CONT’D)
How did you...never mind. I don't
want to know.

NARRATOR
The Pie Maker smiled to himself at
Chuck's little surprise and
Emerson's little discomfort. Then
he turned and shared his smile with
the girl who made his heart beat
faster just by being near.
PUSHING DAISIES - "PUSHING DAFFODILS" 18.

INT. ANNA’S HOUSE - PARLOR - DAY

Anna Roble, in cowgirl mourning black, ushers in the trio.


Mementos of the road adorn the walls. A large BUFFALO HEAD,
tastefully lit, dominates. Ned and Chuck note and smile. Anna
sits and offers a settee. Ned and Emerson claim the ends but
Emerson huffs and moves to the center on Chuck’s glare.

ANNA
Y’all sure I can't offer you
nothing? Lemonade? Sweet tea?

EMERSON
(excited)
Sweet tea?

ANNA
Why course, Mr. Cod. Just 'cause my
world's collapsing all around me,
don't mean I gotta succumb to the
chaos.
(calling O.S.)
Shannon, sweetie? Could you please
bring sweet tea and glasses for our
guests?
(back to guests)
Now how can I help you?

CHUCK
Actually Mrs. Stucky--

ANNA
--Roble. I kept my name.

CHUCK
Sorry, Mrs. Roble. I was wondering
if I could use your powder room.

ANNA
Up the stairs, second door on the
right, sweetie.

Chuck exits as SHANNON ROBLE, the spitting image of her


mother, enters with a tray of drinks.

INT. ANNA’S HOUSE - HALLWAY - DAY

At the top of the stairs, Chuck turns right, then immediately


spins around and goes left.

NARRATOR
Taking a powder, but not for
herself, Chuck had snuck off to
snoop.
(MORE)
PUSHING DAISIES - "PUSHING DAFFODILS" 19.
NARRATOR (CONT'D)
She didn’t know where she should
look or what she might find, but
hoped inspiration would tap on her
shoulder.

Chuck grasps a doorknob. HECTOR SELVA, over-suave and


slightly oily with an accent to match, taps her shoulder.

HECTOR
Can I help you?

CHUCK
(spinning)
Oh! Hi there. I didn't hear you
come up. I...uh...was just looking
for the bathroom.

HECTOR
Then you have come the wrong way.
It is at the other end of the hall.
I am Hector, who are you?

CHUCK
(extending her hand)
Chuck.

HECTOR
It is nice to meet you...
(kissing her hand)
Chuck.

INT. ANNA’S HOUSE - PARLOR - DAY

Shannon sits on a straight-backed chair near her mother.

EMERSON
...and I assume you own this house.
How large is the mortgage, if you
don't mind my asking?

ANNA
Seems to me, Mr. Cod, you’re
circlin’ around a question like a
pack of coyotes circlin’ a wounded
deer. Why’n’t you ask what you’re
hintin’ at? You wanna know if I
killed my husband.

EMERSON
Well did you?
PUSHING DAISIES - "PUSHING DAFFODILS" 20.

SHANNON
(agitated)
We’re paying you to find the real
killer, not accuse my mother.

NED
Not accusing, no one’s accusing.
Just asking.

SHANNON
She loved Cedric. She'd never do
anything to hurt him.

ANNA
Shannon honey, Mr. Cod’s just doin’
his job. No cause to get yourself
all riled. No, Mr. Cod. I sure
didn’t kill Cedric.

SHANNON
But mom--

ANNA
--don’t “but” me, young lady. I
know you’re upset. We all are. But
that’s no reason to be rude to our
guests. Why’n’t you go check on
supper while I finish up here?

SHANNON
Yes ma’am.

Shannon, chastened by her mother’s words, exits.

ANNA
You'll have to forgive my daughter.
She's not copin’ real well.

NED
I think that's understandable. I
know how I felt when I lost my
mother.

ANNA
Cedric’s the only father she ever
knew. All them years on the road,
just the two of us. It was a might
touchy early on, but them two grew
thick as thieves.

EXT. TRAILER PARK - DAY - FLASHBACK

Anna pushes a STROLLER away from a decrepit trailer.


PUSHING DAISIES - "PUSHING DAFFODILS" 21.

NARRATOR
Pregnant at 17, Anna Roble was a
mother at 18. Determined to protect
her daughter from her own fate, she
left her past behind, trading a
life of quiet desperation for
cheering throngs and gunfire.

EXT. PARADE GROUNDS - DAY - FLASHBACK

Anna wears a garish costume and sports six-shooters. Toddler


Shannon watches in an identical costume.

NARRATOR
For the first ten years of her
life, Shannon Roble shared her
mother with no one, packed houses
notwithstanding.

EXT. CHURCH - DAY - FLASHBACK

The same wedding scene as earlier, now CLOSE ON Shannon.

NARRATOR
So it came as quite a shock to the
young girl when Cedric Stucky
complicated their country duet with
his jazzy bass line.

INT. ANNA’S HOUSE - PARLOR - FLASHBACK

Cedric sits in a comfy chair, Shannon nestled on his lap half-


asleep as he reads.

NARRATOR
It came as something more of a
shock when she found herself as
taken with him as her mother.

BACK TO:

INT. ANNA’S HOUSE - PARLOR - DAY

Anna looks a might sadder.

NED
What about your husband’s partner?
Were there any problems between the
two of them?

ANNA
Hector? I’ve never cottoned much to
him. He’s what my daddy liked to
call a greedy grasper.
(MORE)
PUSHING DAISIES - "PUSHING DAFFODILS" 22.
ANNA (CONT'D)
Always lookin’ to lasso hisself a
faster horse. But seems I’m the
only one round here don’t like him.
Cedric loved him like a son. And
Shannon--

With a din, a CAPUCHIN MONKEY scampers in and jumps onto


Emerson's lap. Shock gives way to glee as the monkey shakes
Emerson’s hand.

EMERSON
Well, hello little fella! Nice to
meet you too. Name's Emerson Cod.
What's your handle?

ANNA
Oh my! I'm so sorry, Mr. Cod. Wild
Billy's usually not so excited to
meet new people. Here, let me get
him.

EMERSON
No, no. It's alright. He's no
trouble.

NED
Are you alright? I've never seen
you look that way before. Except
when we get paid, then you look
just like that. Like you're happy.

NARRATOR
Emerson Cod was happy. As a young
boy, he’d wanted nothing so much as
a pet to call his own.
Unfortunately, his sister proved
allergic to all manner of fur and
feather.

EMERSON
Had to settle for a cricket. Named
him Jiminy. Kept my sister up at
night with his chirping, so it was
worth it.

NED
That's--

EMERSON
--not a word.
(to Anna)
You were saying about Hector and
your daughter?
PUSHING DAISIES - "PUSHING DAFFODILS" 23.

ANNA
They’re getting married. Met on her
birthday last year.

EXT. PARADE GROUNDS - NIGHT - FLASHBACK

HECTOR SELVA stands on stage with a half-dozen dogs and a


monkey. The monkey holds a hoop while a dog jumps through it.

NARRATOR
Hector Selva had first come to
Cedric Stucky’s attention as part
of Seis de Selva, a mariachi band
composed of his parents, three
older sisters, and Hector on the
traditional vihuela. But it was in
his later incarnation as Selva of
the Jungle that Cedric grew to know
the young man well.

INT. ANNA’S HOUSE - PARLOR - NIGHT - FLASHBACK

Shannon sits amid elaborately wrapped boxes, Wild Billy on


her lap with a RIBBON around his neck, Hector beside her.

NARRATOR
When it occurred to Cedric to give
his unconventional step-daughter an
unconventional gift for her twenty-
first birthday, he immediately
thought of Hector, and his trained
capuchin monkeys.

Shannon takes Hector’s hand.

NARRATOR (CONT’D)
He did not anticipate, but did not
mind, that the young woman took to
the trainer as much as the animal.

INT. THEATER - BUSINESS OFFICE - DAY - FLASHBACK

Cedric at his desk, Hector opposite. Hector signs a contract.

NARRATOR
The fact that Cedric himself had
taken to the young man played no
small part in that.

BACK TO:
PUSHING DAISIES - "PUSHING DAFFODILS" 24.

INT. ANNA’S HOUSE - PARLOR - DAY

ANNA
I was a little surprised when
Cedric cut Hector in on the
theater. Not that it matters. Ten
percent of nothin’ is still
nothin’. Cedric poured all our
savings into that damn pipe dream
of his. And I’ll be lucky to save
this house because of it.

INT. ANNA’S HOUSE - CEDRIC’S OFFICE - DAY

Chuck and Hector stand amidst a huge GUN COLLECTION.

CHUCK
That’s a lot of guns.

HECTOR
Do they make you uncomfortable?

CHUCK
No. My aunts had a whole drawer
full of cheese knives.

HECTOR
It is still very strange. I did not
even hold a gun until I was a man
but Shannon was in the act at ten.

ON EMPTY DISPLAY CASE

CHUCK
What goes in here?

ON CHUCK AND HECTOR

HECTOR
(shocked)
Anna’s very first gun.

END OF ACT TWO


PUSHING DAISIES - "PUSHING DAFFODILS" 25.

ACT THREE

INT. PIE HOLE - NIGHT

Ned wipes the counter while a mortified Chuck turns over an


empty BEAN HOPPER next to the espresso machine. Emerson
enters and sits by Ned. Chuck quickly joins.

EMERSON
It's worse than we thought.

CHUCK
Worse than mortgaging their house
and pouring all their savings into
the renovation of a rundown
theater?

EMERSON
Why she talking? Did I not just
rush in here, presumably to discuss
what I found out? I know they
mortgaged their house. Did you also
know the victim put up his life
insurance policy to get another
half million? Or that he used his
wife's gun collection to secure
fifty-thousand more?

NED
Did you talk to Hector?

EMERSON
I did, but he’s got an alibi. Car’s
been in the shop all week and
Stucky dropped him off before
heading home, two miles away.
Besides, he got his ten percent for
nothing. The only one looking to
lose was the widow.

NARRATOR
After 20 years of touring, Anna
Roble was ready to holster her guns
and leave the road behind.

EXT. THEATER - DAY - FLASHBACK

A rundown Beaux-Arts Theater on an otherwise thriving block.


The day is sunny, but the theater gloomy. A few stray letters
hang from the marquis. Anna and Cedric look on.
PUSHING DAISIES - "PUSHING DAFFODILS" 26.

NARRATOR
Happy his wife would finally be
home more, Cedric Stucky proposed
to her a grand plan. Together they
would buy and renovate the once
beautiful Liberty Theater,
restoring it to its former glory as
a mecca for performers of all
stripes. Riding on the crest of
downtown renewal, Cedric was
certain the plan would be embraced
and supported by the city elders.

EXT. THEATER - DAY - FLASHBACK

Many men in HAZ-MAT suits move about the sidewalk.

NARRATOR
What he failed to consider was the
cost of asbestos removal.

EXT. THEATER - DAY - FLASHBACK

The exterior is now pristine and vibrantly painted. The


marquis reads: "Opening This Summer!"

NARRATOR
When the renovations stalled,
Cedric cashed in all his family's
remaining assets and risked
everything on the future of the
theater. But Cedric would not live
to see the theater's grand
reopening.

BACK TO:

INT. PIE HOLE - NIGHT

Back at the counter Chuck looks lost in her own thoughts.

CHUCK
What kind of gun was he shot with?

EMERSON
Twenty-two caliber. Police never
found it.

CHUCK
Is that a small gun?

EMERSON
It’s not big.
PUSHING DAISIES - "PUSHING DAFFODILS" 27.

CHUCK
Small enough for a young girl to
shoot?

EMERSON
Why you asking?

CHUCK
When Hector was showing me Anna’s
gun collection, we noticed one was
missing. He said it was the gun she
had as a girl.

EMERSON
There a reason you didn't mention
this sooner?

CHUCK
(unsure)
I got distracted by the monkey?

NED
In Chuck's defense, the monkey was
distracting.

EMERSON
I'm sorry. You must be confusing my
happy-to-finally-hear-about-the-
murder-weapon face from my angry-
dead-girl-didn't-mention-it-sooner
face. I'm happy to finally hear
about the murder weapon.

NED
We should probably find that gun.

EMERSON
(snidely)
You think?

CHUCK
Anna said she and Cedric shared an
office at the theater, didn't she?
Maybe we should poke around down
there.

NED
It's late. No one's going to be
there.

CHUCK
Which makes it the perfect time for
poking.
PUSHING DAISIES - "PUSHING DAFFODILS" 28.

NED
I hate poking. I'm not a poker.

INT. AUNTS' HOUSE - NIGHT

Olive sits on the couch next to Vivian. LILY CHARLES sits in


a chair. Olive serves PIE. Lily eyes hers cautiously then
takes a nibble. Vivian forks a large bite into her mouth. As
soon as her mouth is full to bursting...

OLIVE
Cedric Stucky's dead. Shot. Dead.

Vivian stops chewing and tries unsuccessfully to speak.

LILY
(warily)
What makes you think we'd care
about that?

OLIVE
Chu...
(pretends to clear throat)
Just remembered hearing his name
around before. From your stories
when the Darling Mermaid Darlings
were touring.

LILY
I don't remember ever ment--

It finally occurs to Vivian to swallow.

VIVIAN
--That must be it. He used to book
us all through the Quad States. You
remember, Lily.

LILY
Oh, I remember alright.

OLIVE
You're sure you don't have any
coffee at all? Not even some
instant?

LILY
No.

VIVIAN
You know what would go great with
this pie? Gin. I'm going to get
some.
PUSHING DAISIES - "PUSHING DAFFODILS" 29.

Vivian starts to get up, but Lily instead hands over her HIP
FLASK. Vivian takes a long drink, emptying it.

VIVIAN (CONT’D)
I'm going to get some more. Does
anyone else want any?

INT. THEATER - BACKSTAGE - NIGHT

Ned, Chuck, and Emerson lurk by a door that reads "C.


Stucky/A. Roble Proprietors". Chuck has added a jaunty BRIGHT
YELLOW SCARF to her outfit. There are some painting supplies
around. Emerson crouches and gets busy with LOCK PICKS.

NED
I've always meant to ask, where did
you learn to do that, anyway?

EMERSON
Where'd you learn to bake, Pie Man?

NED
From my mother.

EMERSON
My mother doesn't bake.

Emerson turns the knob and pushes the door open.

INT. AUNTS' HOUSE - NIGHT

There are signs of extensive drinking. Vivian is giddy, Olive


calm, and Lily remains Lily.

VIVIAN
I used to write him all the time.
Do you remember, Lily?

LILY
I do.
(to Olive)
Vivian used to write the most
dreadful love letters to Stucky.
Scented paper, flowery poetry.

VIVIAN
Cedric seemed to like them.

OLIVE
What happened between you two?
PUSHING DAISIES - "PUSHING DAFFODILS" 30.

LILY
I'll tell you what happened. After
Charlotte's father died, that
sniveling little man headed for the
hills. He was a coward, plain and
simple.

VIVIAN
That's not what happened at all.

EXT. POOL - DAY - FLASHBACK

Lily and Vivian poolside, smile and wave at the crowd. At a


small table, Lily picks up a TOO-SHORT ROBE. Cedric comes up
and surprises Vivian with a LUXURIOUS ROBE.

NARRATOR
Cedric Stucky had been booking the
Darling Mermaid Darlings for almost
a year before realizing his heart
had plunged headlong in love. And
though it came upon him slowly, he
was anything but slow once the
realization was realized.

INT. DRESSING ROOM - DAY - FLASHBACK

Lily and Vivian sit at dressing tables. Huge BOUQUETS OF


FLOWERS block Vivian's mirror. No flowers block Lily's.

NARRATOR
A man skilled at negotiation and
used to getting what he wanted, he
pursued Vivian with great charm and
overwhelming force.

INT. RESTAURANT - NIGHT - FLASHBACK

Vivian and Cedric canoodle over fondue.

NARRATOR
Like cubes of Gouda in a chafing
dish, Vivian’s cool heart soon
melted before the heat of the young
man’s passion, so when he
proposed...

Cedric gets on one knee and holds a RING before Vivian.

NARRATOR (CONT’D)
...she happily accepted.

Cedric puts the ring on Vivian's finger and they embrace.


Waiters and other patrons smile and politely applaud.
PUSHING DAISIES - "PUSHING DAFFODILS" 31.

INT. AUNTS' HOUSE - NIGHT - FLASHBACK

Vivian is red-eyed. Cedric tries to comfort her, but Vivian


shakes him off and returns the engagement ring to Cedric.

NARRATOR
But when Chuck's father died,
Vivian turned off the flames. She
knew she was about to become mother
to a sweet and lost little girl...

Cedric shambles out the door and Vivian goes to the living
room where Lily is drinking heavily.

NARRATOR (CONT’D)
...as well as her not-so-sweet but
equally lost sister.

BACK TO:

INT. AUNTS' HOUSE - NIGHT

A single tear runs down Lily's cheek from beneath her patch.

VIVIAN
So you see, I couldn't do that to
Cedric. He was such a sweet man.

INT. THEATER - BUSINESS OFFICE - NIGHT

Chuck looks through file cabinets. Emerson examines the


contents of the desk. Ned flips through an APPOINTMENT BOOK.

CHUCK
I thought you said the victim got a
loan for a half-million against his
life insurance.

EMERSON
I did.

CHUCK
So what's this policy for a million
dollars?

Emerson bounds over and snatches the POLICY from Chuck.

EMERSON
This policy's only a week old.

NED
What day?
PUSHING DAISIES - "PUSHING DAFFODILS" 32.

EMERSON
Wednesday. Why?

NED
Because there's an appointment in
here for Thursday to meet with a
trust attorney.

CHUCK
It doesn't look good for Anna, does
it?

NED
I don't think so. What about you,
Emerson? You find anything in the
desk?

EMERSON
Just this receipt from the tailor.
That ugly-ass bowling shirt was
custom-made. Says it was a birthday
present from the wife. You ask me,
he shoulda shot her.

Emerson drops the RECEIPT on the desk and takes the


appointment book from Ned. He heads for the door.

EMERSON (CONT’D)
Let's go see the widow. Looks like
we ain't getting paid. Again.

INT. THEATER - BACKSTAGE - NIGHT

As the fearless threesome walk to the exit a shot rings out!


Emerson ducks. Ned and Chuck look at each other, confused. A
second shot ricochets nearby and Emerson pulls them down.

END OF ACT 3
PUSHING DAISIES - "PUSHING DAFFODILS" 33.

ACT 4

INT. THEATER - BACKSTAGE - NIGHT

The fearful threesome cower behind crates and painting


supplies. A third shot strikes uncomfortably close.

EMERSON
Your scarf! It's like a damn
beacon.

Chuck throws the scarf over the crate she's hiding behind.
Three quick shots are followed by clicking. Ned and Emerson
share a confused look. Chuck goes to her scarf, shot through
thrice. Wild Billy capers up with the missing .22 CALIBER.

NARRATOR
It seemed someone had trained Wild
Billy to shoot anything the color
of Chuck's scarf. A scarf the exact
color of...

NED
...Cedric's bowling shirt!

CHUCK
What?

NED
Cedric's bowling shirt. Your scarf
is the exact color of Cedric's
bowling shirt.

EMERSON
Guess that receipt is evidence of
something other than a crime
against fashion.

Wild Billy spots Emerson and leaps up, dropping the gun.
Emerson smiles as the monkey perches on his shoulder.

INT. AUNTS' HOUSE - NIGHT

Olive and the Aunts sit quiet and melancholy.

OLIVE
Did you know right away?

VIVIAN
Oh, heavens no. I was resistant at
first, then I just thought it was
sweet, the attention he paid me. I
didn't realize I'd fallen in love
for a long time.
PUSHING DAISIES - "PUSHING DAFFODILS" 34.

OLIVE
No, I mean...did you know right
away he was interested?

VIVIAN
Sure. How couldn't I?

LILY
Bull. Stucky was coming on to you
for months before you noticed. You
were too busy mooning over Hans
Maschler.

VIVIAN
But Hans was in love with that nice
bearded lady, Louise.

LILY
That didn't stop you from acting
like a schoolgirl whenever he was
near. It's a wonder Stucky ever got
your attention long enough for you
to notice he existed.

Olive surreptitiously snaps the rubber band around her wrist.


She un-surreptitiously cries out in pain.

LILY (CONT’D)
What's wrong with you?

OLIVE
Nothing.

INT. NED'S CAR - NIGHT

Ned drives, Chuck up front. In back, Emerson tickles Wild


Billy.

NED
Shouldn't we go to the police?

EMERSON
Woman tried to kill me. Got a few
things to get off my chest first,
if you don't mind.

CHUCK
So what's your plan? We just march
in and accuse her of killing her
husband to kill his dream?

EMERSON
You got a better one?
PUSHING DAISIES - "PUSHING DAFFODILS" 35.

INT. AUNTS' HOUSE - NIGHT

Lily and Vivian sit side-by-side and alone in the dark.

NARRATOR
The mood-altering effects of
Chuck’s mood-enhancing pie worn
off, the woman who did not marry
Cedric Stucky and the sister who
felt responsible both stared
blankly ahead.

LILY
I...didn't know. I'm--

Vivian cuts her off with a small shake of her head. They sit
quietly, then Vivian takes Lily's hand.

INT. ANNA'S HOUSE - PARLOR - NIGHT

As before, Ned, Chuck, and Emerson sit on the couch with Anna
opposite. Chuck rises and crosses to Anna.

CHUCK
In my family we had a tradition
that when someone died, we should
wear a small bit of color to
remember the joy they brought us in
life...

Chuck pulls the scarf from its hiding place and dramatically
drapes it over Anna's shoulders.

CHUCK (CONT’D)
...so I hope you'll accept this
token from me--

EMERSON
--from all of us.

CHUCK
From all of us.

ANNA
Why that's real sweet of y’all.
It's beautiful. Reminds me of the
wild marigolds used to pop up every
spring growing up.

Anna dabs at her moist eyes with the scarf.

EMERSON
I have something else for you. Left
it in the car. Won't be a minute.
PUSHING DAISIES - "PUSHING DAFFODILS" 36.

Emerson exits.

NED
Where did you grow up?

ANNA
Tucson. Well, about fifty miles out
of Tucson. Daddy was a ranch hand.
Momma left when I was born. Weren't
much to do but ride and shoot, and
I did a lot of both. Daddy gave me
my first gun when I was five. Same
gun his daddy gave him. I shot more
rattlers with that pea shooter than
you can shake a stick at.

NED
I don't think I could shake a stick
at a rattler. Probably just throw
the stick and run the other way,
hoping I can run faster than he can
crawl. Slither. Do snakes slither
or slink?

ANNA
We had sidewinders. They don't
slither nor slink. And you can't
run faster than 'em, neither.

NED
I think I’ll just be avoiding the
snakes and the sticks and the
desert entirely then.

Emerson returns with Wild Billy. In the monkey's hand: the


murder weapon. Anna reaches out to take him.

ANNA
Come here, you!

Wild Billy jumps to Anna's lap, repeatedly pulling the empty


gun’s trigger. She puts the gun aside and pets Wild Billy.

ANNA (CONT’D)
Hellfire, man! What are you lettin’
that monkey hop about with a gun
for? Ain’t you got the sense the
Good Lord gave you?

EMERSON
I thought he was trained.
PUSHING DAISIES - "PUSHING DAFFODILS" 37.

ANNA
Just ‘cause a mule’s trained to sit
you don’t bring him to tea with the
Queen.

ON EMERSON

Speechless.

ANNA (CONT’D)
There, there Billy. No one’s mad at
you, partner.
(to Emerson)
Sorry I tore into you like a
wildcat in heat, but I take gun
safety awful serious. I been
lookin’ for this piece. Where’d you
find it, Mr. Cod?

Emerson is puzzled, but goes on the offensive.

EMERSON
Are you going to sit there and
claim to know nothing about that
gun? And the monkey you sent to do
your dirty work?

ANNA
What's he on about?

NED
The monkey tried to kill us. It saw
Chuck's yellow scarf--

EMERSON
--the same color as your dead
husband's bowling shirt--

NED
--and started shooting at us while
we were at the theater.

ANNA
The theater's closed. What were
y’all doin’ down there?

EMERSON
Looking for evidence that you
killed your husband. Evidence like
a monkey who shoots ugly yellow
things and a receipt for an ugly
yellow thing.
PUSHING DAISIES - "PUSHING DAFFODILS" 38.

CHUCK
Mrs. Roble, we know your husband
put your life savings into the
theater. You were going to be
penniless and forced back on the
road. No one would blame you for
worrying about that.

NED
No, not for worrying, no. Killing,
maybe, that might be frowned on,
but not worrying. Did you? I mean,
kill, not worry?

ANNA
I loved my husband! Mr. Cod, I'm
paying good money to find my
husband’s killer and you're blaming
me?

EMERSON
About that, with all your money
tied up in the renovations, how
were you going to afford my fee?

Emerson whips out the million dollar life insurance policy.

EMERSON (CONT’D)
With the new life insurance policy
you took out on your husband before
your monkey took him out?

ANNA
Cedric and I wanted to make sure
there'd be money for Shannon in
case anything happened to us.
'Cause we'd already borrowed
against the old policy.

CHUCK
What about the meeting with the
estate lawyer?

ANNA
Cedric scheduled that so we could
update our wills. Shannon's old
enough, so we wanted to make her
the executor for the estate.
Executor? Is that right? What's the
one for gals?

NED
Executress?
PUSHING DAISIES - "PUSHING DAFFODILS" 39.

CHUCK
Executrix.

Ned gives Chuck a little smile...

NARRATOR
The Pie Maker gave Chuck a little
smile, just for knowing the right
suffix to use.

ANNA
Executrix. Plus, we was givin’
Shannon forty percent of the
theater.

CHUCK
Forty percent?

ANNA
Yeah. It was our legacy to her.
Forty percent of a money pit.

CHUCK
And with Hector’s ten percent--

EMERSON
--he’d have control of the theater.

NARRATOR
Emerson Cod’s mood had been
shifting erratically since his
furry little friend had tried to
kill him, but now it settled on a
point midway between contentment
and anticipation. He was content
that he could soon anticipate
payment.

Hector enters from behind Anna.

EMERSON
Why, hello! Glad you could join us
Mr. Selva.

HECTOR
You certainly seem in good spirits,
Mr. Cod. Have you made progress?

EMERSON
Why yes. Yes I have.

Hector comes around and sees Wild Billy. He gives the monkey
an affectionate scratch on the head.
PUSHING DAISIES - "PUSHING DAFFODILS" 40.

HECTOR
Hello little one.

NED
(to Chuck)
He doesn’t seem very concerned
about the scarf.

Shannon enters and immediately surveys the scene. She


blanches and snatches the monkey and .22 before running out.

CHUCK
I guess he didn’t need to be.

ON ANNA’S SHOCKED EXPRESSION --

END OF ACT 4
PUSHING DAISIES - "PUSHING DAFFODILS" 41.

ACT 5

INT. ANNA'S HOUSE - PARLOR - NIGHT

A moment of stillness...

NARRATOR
Like the calm that settles over a
town after a tornado has ripped
through, everyone sat in stunned
silence.

...followed by chaos.

NARRATOR (CONT’D)
Immediately followed by the lack of
calm of the tornado ripping
through. The Pie Maker and Chuck
were careful not to touch each
other, but every other combination
of person bumping person occurred
until order was restored.

Everyone sits.

HECTOR
What was that?

EMERSON
(to Anna)
Where would she go?

ANNA
I don't know. I'm just so...I can't
believe she would...

HECTOR
She would what? What is going on
here?

CHUCK
Mr. Selva, I think your fiancee
killed her father.

HECTOR
But she loved Cedric. Why would she
kill him?

EMERSON
I don’t know. I thought you had
done it.

CHUCK
She'd need money, wouldn't she?
PUSHING DAISIES - "PUSHING DAFFODILS" 42.

NED
There was a safe in the theater
office. Is there anything valuable
in it, Mrs. Roble?

ANNA
Cedric always kept a few thousand
dollars cash in there, for the
building inspectors.

NED
Does your daughter know the
combination?

ANNA
Cedric set the combo to our
birthdays. Me, him, and Shannon. He
was a sentimental old fool.

EMERSON
Let's go.

ANNA
Don't hurt her, Mr. Cod!

INT. NED'S CAR - NIGHT

Emerson sits shotgun this time and Chuck looks on from the
backseat as he makes sure his gun is loaded.

CHUCK
I thought you liked Wild Billy?

EMERSON
Like him fine when he ain’t
shooting at me. I ain't getting
shot by no ape.

NED
He's a monkey, actually.

EMERSON
Fine. Monkey. I ain't getting shot
by no monkey. And in case it was in
doubt, I ain’t getting shot by no
dog, cat, raccoon, or dolphin
either.

INT. THEATER - BACKSTAGE - NIGHT

Our three heroes huddle just inside. Floors creak and Wild
Billy screeches. Emerson holds his gun, Ned holds a CROWBAR.
They start creeping away from the door, but Ned stops Chuck.
PUSHING DAISIES - "PUSHING DAFFODILS" 43.

NED
I think I'd like it better if you
stayed back here where it's safe.
Safer, anyway. I've already seen
you dead once and it's not
something I want to see again. Not
that you didn't look nice dead, it
was just the being dead part I
didn't like. I can't bring you back
again and I definitely don't want
to lose you again.

CHUCK
That's sweet, but I don't want to
see you dead, either. Why shouldn't
you stay back while I go ahead? You
might not be able to un-dead me
again, but I don't think you can un-
dead yourself.

Emerson turns back and stage whispers

EMERSON
I don't want to see me dead,
either. So why don’t two lovebirds
stop cooing?

NED
Please? You can watch the door and
make sure she doesn't double back.

CHUCK
Okay. Fine. But be careful.
(louder)
You too, Emerson.

EMERSON
(Under his breath)
“You too, Emerson.” What part of
stealth don't these people get?

Emerson waves Ned left while he goes right. Chuck crouches in


shadow for a second, then steps to the side and bumps against
scaffolding. She looks at the ladder leading up and smiles.

INT. THEATER - BACKSTAGE - NIGHT - CONTINUOUS

ON EMERSON

Emerson walks, pressed tight against the wall. Shadows of the


monkey and Shannon tower, their guns the size of cannon.
PUSHING DAISIES - "PUSHING DAFFODILS" 44.

ON NED

Ned inches, gripping the crowbar. He hears a creak and spins:


nothing. Turning back, he kicks a pail, making a racket.

ON EMERSON

Emerson turns around slowly and backs into a stepladder,


knocking it over with a clatter.

ON NED AND EMERSON

Ned and Emerson back toward each other, each unaware of the
other. They bump, jump, and spin midair, weapons ready.

NED
It's you. I thought--

ON SHANNON

She's got the drop on Ned and Emerson.

SHANNON
--You thought it was me? I'm hurt,
Pie Man. I'm much skinnier than Mr.
Cod. No offense intended, Mr. Cod.

EMERSON
(smiling, appeasing)
None taken.

SHANNON
You might want to put those down.

Emerson carefully lays down his gun. Ned drops his crowbar
and startles himself with the volume.

SHANNON (CONT’D)
Thanks. I don't really like guns.
Not in other people's hands.

END OF ACT 5
PUSHING DAISIES - "PUSHING DAFFODILS" 45.

ACT 6

INT. THEATER - BACKSTAGE - NIGHT

Ned and Emerson stand shoulder-to-shoulder staring down the


barrel of Shannon's COMICALLY LONG REVOLVER. Wild Billy
hovers a few steps behind her with his little .22.

NARRATOR
Emerson Cod made some quick
calculations. Shannon Roble's forty-
four plus the monkey's twenty-two
equaled sixty-six ways this could
end badly. Even without any yellow -
a color the private investigator
astutely avoided as it clashed with
his autumn tones - Wild Billy was
still trained to shoot. While
trying to decide on the best way to
stall for time...

NED
Why did you do it, Shannon? Why did
you shoot your father?

SHANNON
Step-father. Fine, you want to know
why, I'll tell you.

EXT. CHURCH - DAY - FLASHBACK

On the church steps for the picture, CLOSE ON Young Shannon.

NARRATOR
Shannon Roble warmed slowly to the
young man who had won her mother's
heart.

EXT. ANNA'S HOUSE - DAY - FLASHBACK

Young Shannon, Anna, and Cedric stand in front in the same


formation as the prior scene. A flash goes off and we...

ANGLE ON WOMAN

A REALTOR in a PURPLE BLAZER takes a picture. Next to her is


a "For Sale" sign emblazoned with a picture of herself, atop
which sits a smaller "SOLD!" sign.

NARRATOR
But she soon grew to love him and
appreciate the stability he brought
to their little family.
PUSHING DAISIES - "PUSHING DAFFODILS" 46.

EXT. THEATER - DAY - FLASHBACK

Shannon, Anna, and Cedric in front, the same formation. A


flash and we...

ANGLE ON WOMAN

The same realtor takes a picture. She stands next to another


"For Sale" sign with a "SOLD!" appendage.

NARRATOR
When Cedric Stucky first proposed
restoring the Liberty Theater, the
younger Sharp Shooter supported the
plan.

INT. THEATER - BUSINESS OFFICE - DAY - FLASHBACK

Cedric at his desk. Shannon plays with Wild Billy in the


corner. A MAN with a CLIPBOARD stands by the desk. Cedric
signs a check with a flourish and hands it over.

NARRATOR
But as the renovations used up more
of the family's savings, Shannon
Roble became convinced her mother's
future was being mortgaged away to
support her step-father's dreams.

INT. ANNA'S HOUSE - CEDRIC'S OFFICE - NIGHT - FLASHBACK

Shannon pries open a locked desk drawer.

NARRATOR
Looking for anything to support her
argument that Cedric was
bankrupting her family, she found
something else entirely.

Shannon holds a packet of ribbon-wrapped letters.

NARRATOR (CONT’D)
Beneath a box of old buttons, she
found love letters from a woman
known only as “V”.

Shannon opens one of the DELICATE ENVELOPES.


PUSHING DAISIES - "PUSHING DAFFODILS" 47.

NARRATOR (CONT’D)
Convinced her step-father was
stepping out, she put aside her
feelings for Cedric and began
devising her plan.

BACK TO:

INT. THEATER - BACKSTAGE - NIGHT

SHANNON
When my mother told me what she was
giving Cedric for his birthday, I
knew what I had to do.

INT. THEATER - STAGE - NIGHT - FLASHBACK

Shannon stands on stage with the monkey's lead in her hand.

NARRATOR
Using the training techniques she
had learned from Hector, Shannon
Roble trained Wild Billy to respond
in one way and one way only to the
color yellow, the exact color of
Cedric Stucky's custom bowling
shirt.

She rolls a BRIGHT YELLOW BALL in front of him and he shoots


it, deflating it.

BACK TO:

INT. THEATER - BACKSTAGE - NIGHT

SHANNON
I don't know who this "V" is, but
the hussy was making plans to marry
Cedric. First he takes all my
mother's money, then he runs off
with someone else?

ON ANNA AND HECTOR

ANNA
What did I teach you about pointin’
guns at people?!

SHANNON
Mom! When did you--
PUSHING DAISIES - "PUSHING DAFFODILS" 48.

ANNA
--Just now. And not a moment too
soon, neither. Now put down that
gun before you hurt someone.

NED
I think that’s a great idea. You
should listen to your mother.

SHANNON
(to Ned)
Shut up!

We look down from Chuck’s perspective on the scaffolding


above. She holds a pail over the gunwoman and gunmonkey.

ANNA
Don’t be rude, young lady. Now, I
told you put down that there gun
and I meant it.

SHANNON
No! I did what I did for you, and
I’m not going to jail for it.

Shannon spins. Chuck drops the pail behind Shannon. BRIGHT


YELLOW PAINT splashes her backside. Wild Billy fires, hitting
Shannon's bum. She yelps, drops her gun, and hits the ground.

ANNA
For me? You killed the love of my
life for me?

SHANNON
(through the pain)
He was cheating on you!

ANNA
Who with, “V”? Them letters is 20
years old, you fool girl. Man had a
life before me. They’s part of that
life. Cedric weren’t leavin’ me for
Vivian Charles. That didn’t mean he
didn’t still have a right to his
feelings.

Ned kicks Shannon’s gun away from her and Emerson disarms
Wild Billy. Ned and Chuck smile and wave at each other.

CHUCK
I didn't wait by the door.

NED
Thanks.
PUSHING DAISIES - "PUSHING DAFFODILS" 49.

INT. PIE HOLE - DAY

Ned and Chuck at the counter. Olive walks by the espresso


machine and slows. When she’s past it, she snaps! her rubber
band and speeds up. Emerson enters wearing a HAND-KNIT VEST,
Wild Billy on his shoulder in a matching HAND-KNIT VEST.

NED
Hey, Emerson. What did the police
have to say?

EMERSON
They're not charging the monkey,
but he’s gonna be a material
witness at trial. After that he's
gonna spend some time with an
animal trainer getting deprogrammed
so he don't shoot every time he
sees yellow. Then they're finding
him a good home.

NED
And what are you two doing today?

EMERSON
Taking him to the zoo. Thought he'd
like that.

NED
(smiling)
I'll bet he does.

Emerson turns and leaves. Chuck comes up to Ned.

CHUCK
We're going out, too.

NED
Where?

CHUCK
You'll see.

NED
You know I don't like surprises.

Chuck beams at Ned.

NED (CONT’D)
But I like you. Olive? We're
heading out for a while. Are you
okay by yourself?
PUSHING DAISIES - "PUSHING DAFFODILS" 50.

OLIVE
What? Oh, sure boss.

Olive gives herself another snap! of the rubber band.

EXT. ANNA'S HOUSE - DAY

Lily and Vivian walk to the front door and knock tentatively.

NARRATOR
Having temporarily freed themselves
from their self-imposed prison,
Lily and Vivian Charles came to pay
their respects to the widow Roble.

The door opens and Anna recognizes the women. She hugs both
tight. They show discomfort but lightly hug back.

INT. NED'S CAR - DAY

Across the street, Chuck watches.

CHUCK
Aunt Vivian called off the
engagement because of me.

NED
I thought Olive said it was because
your father died. That makes it
because of me, I think.

CHUCK
I wonder what else my aunts missed
out on because I was around.

NED
Your aunts loved you. Whatever they
might have missed was made up by
what they had.

Chuck squeezes Ned’s hand through the RUBBER INCUBATOR GLOVE.


Through the front window, we see Anna hand Vivian the packet
of letters. This time Vivian initiates the embrace.

CHUCK
We can go now. Thanks.

EXT. PIE HOLE - NIGHT

Olive locks up. Through the front window, we see her head
toward the espresso machine. She snaps! her rubber band once
and picks up a cloth. On the sidewalk, ALFREDO ALDARISIO
watches. He SINGS, quietly and A CAPELLA at first.
PUSHING DAISIES - "PUSHING DAFFODILS" 51.

ALFREDO
(sings)
I'M LYING ALONE WITH MY HEAD ON THE
PHONE, THINKING OF YOU TILL IT
HURTS.

Olive, at the espresso machine, looks down at her rubber


band. She plucks it and it breaks. She deflates.

ALFREDO (CONT’D)
I KNOW YOU HURT TOO BUT WHAT ELSE
CAN WE DO, TORMENTED AND TORN
APART.

Olive picks herself up and begins to lovingly wipe the


machine. MUSIC UP slowly.

ALFREDO (CONT’D)
I WISH I COULD CARRY YOUR SMILE IN
MY HEART, FOR TIMES WHEN MY LIFE
FEELS SO LOW. IT WOULD MAKE ME
BELIEVE WHAT TOMORROW COULD BRING,
WHEN TODAY DOESN'T REALLY KNOW,
DOESN'T REALLY KNOW.

INT. AUNTS' HOUSE - NIGHT

Sitting alone, Vivian takes the packet of letters from a side


table and unties the ribbon. She opens the first envelope and
begins to read. MUSIC UP full.

ALFREDO (V.O.)
(going BIG)
I'M ALL OUT OF LOVE, I'M SO LOST
WITHOUT YOU, I KNOW YOU WERE RIGHT
BELIEVING FOR SO LONG

Vivian hugs the letter tight and smiles so widely she cries.

ALFREDO (V.O.) (CONT’D)


I'M ALL OUT OF LOVE, WHAT AM I
WITHOUT YOU, I CAN'T BE TOO LATE TO
SAY THAT I WAS SO WRONG.

INT. NED'S APARTMENT - LIVING ROOM - NIGHT

Ned reads, Digby nearby. Chuck enters and flips a switch,


turning off all lights but a small spot on the daffodil. She
extends her hand, wearing a YELLOW DISHWASHING GLOVE.
PUSHING DAISIES - "PUSHING DAFFODILS" 52.

ALFREDO (V.O.)
I WANT YOU TO COME BACK AND CARRY
ME HOME, AWAY FROM THIS LONG LONELY
NIGHT, I'M REACHING FOR YOU, ARE
YOU FEELING IT TOO, DOES THE
FEELING SEEM OH SO RIGHT.

Ned takes her hand and smiles. She leads him over in front of
the flower and they begin a very chaste, slow dance.

ALFREDO (V.O.) (CONT’D)


AND WHAT WOULD YOU SAY IF I CALLED
ON YOU NOW, AND SAID THAT I CAN'T
HOLD ON, THERE'S NO EASY WAY, IT
GETS HARDER EACH DAY, PLEASE LOVE
ME OR I'LL BE GONE, I'LL BE GONE.

EXT. PIE HOLE - NIGHT

Olive shuts off the last light and grabs her purse. Alfredo
turns and slowly walks away. The MUSIC ends and as he walks
off he SINGS his final lines softly and A CAPELLA.

ALFREDO
I'M ALL OUT OF LOVE, I'M SO LOST
WITHOUT YOU, I KNOW YOU WERE RIGHT
BELIEVING FOR SO LONG, I'M ALL OUT
OF LOVE, WHAT AM I WITHOUT YOU, I
CAN'T BE TOO LATE TO SAY THAT I WAS
SO WRONG.

Olive leaves and locks the door behind her. She looks toward
Alfredo's direction quizzically, but turns and walks the
other way. Alfredo WHISTLES off.

FADE OUT.

END OF SHOW

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