How I Met Your Mother Pilot Script
- 1. HOW I MET YOUR MOTHER Pilot by Carter Bays & Craig Thomas Writers' 2nd Draft 1-28-05
- 2. *ACT ONE * *INT. 2029 LIVING ROOM - EVENING * *(NARRATOR, DAUGHTER, SON) * *A WARM LOOKING COUCH IN A FAMILY ROOM, IN SOME SUBURBAN HOME. *A FIRE CRACKLES IN THE FIREPLACE. TWO TEENAGERS -- A 14-YEAR *OLD SON AND A 16-YEAR OLD DAUGHTER -- SIT ON THE COUCH. THEY *LOOK AT THE CAMERA, AND LISTEN TO THE NARRATOR. * *NARRATOR (O.S.) * *Okay. You guys are old enough. I’m *gonna *tell you the story of how I met *your mother. *DAUGHTER * *Heard it. * *SON *You told us already. * *NARRATOR *(O.S.) *S *ure, you’ve heard the short version. *But *there’s a bigger story, and it’s *important for you to hear it *. * *SON * *Are we being punished *for something *? * *NARRATOR *(O.S.) * *No. *DAUGHTER * *Is this *gonna *take awhile? * *NARRATOR (O.S.) * *Yes. Once upon a time, before I *was *“Dad *, *” *I had this whole other life. *
- 3. 2. *SERIES OF PHOTOS OF *27-YEAR-OLD *TED, HANDSOME AND OPTIMISTIC: *TED HANGING OUT AT A BAR, TED ON A CONSTRUCTION SITE HOLDING *BLUEPRINTS, TED IN CENTRAL PARK, TED IN HIS APARTMENT WITH *MARSHALL, HIS BOYISH, MIDWESTERN BEST FRIEND. *NARRATOR (V.O.) ( *CONT’D *) *It was way back in 2005. I *was single, *I *had a full head of hair, my career *as an architect was taking off, and I *lived in New York City with Marshall, *my best friend from college. Life was *good, until *one brisk *October night, *when Uncle Marshall screwed the whole *thing up. *INT. TED AND MARSHALL’S APARTMENT - NIGHT *(MARSHALL, TED, NARRATOR) *A *20-SOMETHING *BACHELOR APARTMENT THAT, TONIGHT, HAS BEEN *SPRUCED UP A BIT. MARSHALL *, ON BENDED KNEE, NERVOUSLY *PRESENTS TED WITH *A DIAMOND RING. *MARSHALL *Will you marry me? *TED *P *erfect *! *And then she says yes, you’re *engaged, *you pop the champagne, drink *a toast, *have sex on the kitchen *floor. (BEAT *, THINKS *) *D *on’t have sex *on our kitchen floor. * *MARSHALL *Got it. *Geez *, *I’m so nervous. *My *stomach’s going crazy.
- 4. 3. (MORE) *TED *It’s not cancer. *MARSHALL *Who said cancer? *TED *You were about to. *MARSHALL *It could be cancer! I’ve got all these *symptoms, I’ve been peeing like crazy, *my mouth is dry, she’s *gonna *say no! *TED * *All right, *c’mere *, bring it in. *TED GIVES HIM A HUG. *MARSHALL *Thanks for helping me plan this out, *Ted. *TED *Dude, it’s you and Lily! I’ve been *there for all the big moments of you *and Lily. The night you met, your *first date...other first things. *MARSHALL *I’m sorry. We thought you were asleep. *TED *It’s physics, Marshall. If the bottom *bunk moves, the top bunk moves too.
- 5. 4. TED(CONT'D) *But that was nine years ago, the *nightmares have almost stopped. (BEAT) *And you’re getting engaged. Tonight. *MARSHALL *Yeah. What are you doing tonight? *TED THINKS. FREEZE FRAME. *NARRATOR *What *was *I doing? Here Uncle Marshall *was taking the biggest step of his *life, and me? I’m calling up *this *guy. *CUT TO: *INT. BARNEY’S APARTMENT - NIGHT *(BARNEY, NARRATOR, TED) *SPLIT-SCREEN BETWEEN TED *AND BARNEY (32, DEVILISH, LIVES ON *STEAKS AND CIGARS) *. BARNEY’S CELL PHONE RINGS. HE SEES WHO IT *IS, AND ANSWERS. *BARNEY *Hey, so you know how I’ve always had a *thing for half-Asian girls? *FREEZE FRAME ON BARNEY. *NARRATOR (V.O.) *Your Uncle Barney. *UNFREEZE. *BARNEY *Well, I have a new favorite: *Lebanese * *girls. Lebanese girls are the new half- *Asians.
- 6. 5. *TED *I don’t even know what a Lebanese girl *looks like. *BARNEY *Trust me. They’re *Leba-licious. *TED *Listen, Marshall’s getting engaged *here tonight. You *wanna-- *BARNEY *(SNAPPING INTO ACTION) Meet me at the *bar in fifteen. And suit up! *TED *No, no “suit up.” *BARNEY *Suit up or I’m not coming. *TED *(BEAT) Fine, I’ll suit up. *INT. BAR - NIGHT *(BARNEY, TED, YASMIN, NARRATOR) *A NON-TRENDY CLASSIC NEW YORK NEIGHBORHOOD BAR, CURRENTLY *POPULATED BY A SMALL WEDNESDAY-AFTER-WORK CROWD. *TED APPEARS * *IN A LONG SLEEVE T-SHIRT AND CASUAL SLACKS. BARNEY GLARES. *BARNEY *Where’s your suit? We said suit up! I *show up looking awesome and you show *up in your pajamas? Fine. I’m *Superman, you’re Clark Kent.
- 7. 6. *TED Wait, d *oesn’t Clark Kent always wear a *suit? And doesn’t Superman *kinda *wear *pajamas? * *BARNEY (IN A FEMALE VOICE) “Ooh, Michelle, check out those two guys over at the bar arguing about Superman. God, that gets me hot!” (AS HIMSELF) Come on, Ted. Pull yourself together. *TED *You know what’s weird? I just spent *all day planning this romantic *marriage proposal...and it’s for *someone else. *BARNEY * *Oh, I see. Marshall gets engaged, and *all of a sudden your ovaries are *shrinking. Have you forgotten what I *said to you the night we met? *We were *sitting right over there... *WE STYLISHLY WHIP-PAN TO A BOOTH WHERE, MAGICALLY, A YOUNGER *BARNEY SITS NEXT TO A YOUNGER TED, WHO HAS A GOATEE. BARNEY *PUTS HIS ARM AROUND TED. *TITLE: FOUR YEARS EARLIER...
- 8. 7. *BARNEY *( *CONT’D *) *Ted, I’m *gonna *teach you how to live. * *(OFF TED’S CONFUSION) Barney. We met *at the urinal. *TED *Oh, right. Hi. *BARNEY *L *esson *one *, lose the goatee. *L *esson * *two *, never wear jeans to a strip club. *You want *a fabric that’s *light and *roomy. *TED * *Why? (BEAT, REALIZING) Oh. *BARNEY *Lesson three: don’t even *think *about *getting married till you’re 30. *WHIP-PAN BACK TO *PRESENT-DAY BARNEY AND TED AT THE BAR. *TED *I’m not thinking about it. *Just *‘cuz * *my best friend’s getting married *doesn’t mean I have to. *BARNEY *I thought I’m your best friend. (BEAT) *Ted, say I’m your best friend. *TED *You’re my best friend, Barney.
- 9. 8. *BARNEY *Good. Then as your best friend *, *I *suggest we play a little game I call, *“Have *Ya *Met Ted?” *TED *What? No, we’re not playing “Have *Ya * *Met Ted.” *TOO LATE. BARNEY TAPS AN EXOTIC, SEXY GIRL ON THE SHOULDER. *BARNEY *Hi. Have *ya *met Ted? *BARNEY WALKS AWAY, LEAVING TED ALONE WITH THE GIRL. AWKWARD *BEAT. TED SMILES, STICKS OUT HIS HAND. *TED *Hi, I’m Ted. *YASMIN *Yasmin. *TED *That’s a very pretty name. *YASMIN *It’s Lebanese. *FREEZE FRAME ON TED’S LOOK OF SURPRISE. *NARRATOR (V.O.) *Y *our Uncle Barney was right from time *to time. INT. TED AND MARSHALL’S APARTMENT - NIGHT (MARSHALL, LILY) *THE TABLE’S SET, AND COOKING IS UNDERWAY. *MARSHALL’S TRYING *TO LIGHT *MANY *CANDLES WITH ONE *DWINDLING MATCH.
- 10. 9. MARSHALL *Ow! Ow ow *ow *ow ow *ow! THE FRONT DOOR OPENS. LILY (EARTHY, STRONG, MATERNAL) ENTERS. LILY *I’ve had a long day, my eyes could be *playing tricks on me - but it almost *looks like you’re cooking. *MARSHALL *I am *. *You’ve been taking care of hyper- *active kindergartners all day. So now *I’m taking care of you. * *LILY *Oh, you’re the best. It was finger- *painting day. *SHE OPENS HER COAT TO REVEAL A NICE BLOUSE COVERED IN FINGER- *PAINT. THERE IS A CLEAR HANDPRINT ON HER BREAST. *MARSHALL *Did someone touch your boob? *LILY *Justin *Stangel. *He’s a very advanced *little boy. (THEN) I could really use *a shower. MARSHALL *You go *ahead *. I’ll propose the feast * *(CATCHING HIMSELF) *prepare the feast. LILY HEADS FOR THE BATHROOM. MARSHALL LOOKS AT A RECIPE.
- 11. 10. MARSHALL (CONT’D) Hey, sweetie? If the recipe says cinnamon and we don’t have cinnamon, can I use nutmeg? LILY Sure, I guess. MARSHALL Sweetie, where’s the nutmeg? LILY On the spice *-rack. LILY ALMOST MAKES IT TO THE BATHROOM THIS TIME, BUT THEN... MARSHALL Where’s the spice *-rack? LILY Over the oven! MARSHALL Oh, here it is. Oh, hey, we do have cinnamon! (BEAT) Wait, it’s cinnamon sticks. Can you eat these? (WITH *A MOUTHFUL) Oh, no *, no you cannot. Sweetie?! LILY PUTS HER HEAD IN HER HANDS. INT. BAR - NIGHT *(TED, YASMIN) TED SITS AT A TABLE, *FLIRTING WITH YASMIN.
- 12. 11. TED *Here’s how it breaks down: I’m 27 now. *I’ll make partner at my architecture *firm by 30, so that’s when I’ll start looking. It’ll take two years to meet her, *that’s 32. We date for a year *, and at 33, I propose. Then you need a year to book a room and a *decent band *. *That puts me married at *34. *So, yeah, *marriage is the furthest thing from my *mind right now. *YASMIN *Really? Because it’s all you’ve talked *about for the past ten minutes. *TED *That’s not true. I also mentioned I’m *a successful architect. You caught *that, right? *YASMIN *(LAUGHS) Yes. But I don’t think you *can design your life like it’s some *building. What if you meet a girl who *wants to start a family right away? *You haven’t planned when you’re going *to have kids, have you?
- 13. 12. *TED * *One when I’m 36, one when I’m 39. Two *boys. *INT. 2029 LIVING ROOM - EVENING *(DAUGHTER, NARRATOR) *DAUGHTER *Hey! *NARRATOR (O.S. *) Oh, honey, *I’m very glad we had you. INT. KITCHEN - NIGHT (MARSHALL, LILY) LILY, FRUSTRATED, COOKS FRANTICALLY OVER THE STOVE, WHILE MARSHALL *HOVERS NEARBY, NOT COOKING. MARSHALL This is great. Cooking together, as a couple. LILY SHOOTS HIM A LOOK. MARSHALL (CONT’D) Ooh! Almost forgot! HE OPENS THE FRIDGE, GRABS A BOTTLE OF CHAMPAGNE. *LILY *Oh, honey, champagne! A BEAT. *MARSHALL HOLDS OUT THE BOTTLE, EXPECTANTLY. LILY *( *CONT’D *) No. Uh-uh. I’m standing here, cooking your romantic dinner for me, no, you’re opening that bottle yourself. A BEAT. HE GIVES HER THE PUPPY DOG EYES.
- 14. 13. LILY (CONT’D) Marshall, you’re too old to be scared to open a champagne bottle. MARSHALL I’m not scared. LILY Then open it! MARSHALL Fine. (A BEAT) *Please open it. LILY Dammit, Marshall! THEY CONTINUE ARGUING. INT. BAR - NIGHT (NARRATOR, MARSHALL, TED) WE GO TO A SPLIT SCREEN. AT THE TOP OF THE SCREEN, MARSHALL AND LILY CONTINUE ARGUING. AT THE BOTTOM, TED KEEPS ON FLIRTING WITH YASMIN. NARRATOR (V.O.) *In life, there *are two big, *gutsy questions a man has to ask. One’s usually sweet and romantic *, and the other usually comes half-drunk in some bar. But they’re *equally important. MARSHALL WHIPS OUT THE RING. MARSHALL Will you marry me?
- 15. 14. TED You wan *na *go out sometime? CUT TO: INT. KITCHEN - NIGHT (LILY) LILY SCREAMS. LILY Yes!!! SHE JUMPS ON MARSHALL. THEY FALL TO THE FLOOR. CUT TO: INT. BAR - NIGHT *(YASMIN) YASMIN LOOKS AT TED, AND SMILES. YASMIN *Sorry. The bartender’s my boyfriend. *A MUSCULAR BARTENDER GLARES AT TED FROM DOWN THE BAR. CUT TO: INT. KITCHEN - A BIT LATER (MARSHALL, LILY) THE ROOM LOOKS EMPTY. THEN MARSHALL SITS UP INTO FRAME, SHIRT *LESS, HAIR MUSSED UP, GRINNING LIKE AN IDIOT. MARSHALL *I promised Ted we wouldn’t do that. LILY SITS UP AS WELL, GRINNING. LILY Champagne? *MARSHALL *Allow me *, Mademoiselle. HE GETS UP, AND PICKS UP THE BOTTLE.
- 16. 15. (MORE) MARSHALL *( *CONT’D *) I don’t know why I was so scared of this. It’s really pretty easy, right? LILY STARTS TO GET UP, AS MARSHALL FIDDLES WITH THE BOTTLE. HE ABSENTMINDEDLY AIMS IT AT LILY. POP! LILY (O.S.) OWWW!!! INT. BAR - NIGHT (BARNEY, TED, NARRATOR) TED AND BARNEY SIT AT THE BAR DRINKING. BARNEY *What are you thinking, hitting on the *bartender’s girlfriend?! TED *I bet *Marshall and *Lily *’ll *start *having kids soon *. *BARNEY *Oh God, we’re back on this... *TED *I always *figured *our kids would play *together *. **B *ut now *Marshall’s pulling *ahead. M *y kids *’ *ll be playing Candyland *while *Marshall junior’s **out on the *porch *sneaking cigarettes. BARNEY *Okay, lesson number -- God, what are *we up to? 749 or 750. We’ll round up.
- 17. 16. BARNEY(CONT'D) *Lesson 750: Shut up! You’re too young *to get married! *TED *Six days older than *Marshall. *BARNEY Marshall’s from Minnesota. 27-year- olds in Minnesota have grandkids. In New York, there’s a bar on every corner. In New York, you’re too young. TED You’re right. *And there’s one other *big difference between me and *Marshall: he’s found the love of his life. Even if I was ready *, it’s like, okay, *I’m ready! Where is she? HE PRETENDS TO LOOK AROUND...BUT THEN ACTUALLY SEES SOMETHING * *THAT STOPS HIM COLD. NARRATOR (V.O.) And there she was. WE SEE WHO HE’S LOOKING AT: STANDING BETWEEN TWO OF HER FRIENDS, ROBIN SCHERBATSKY LOOKS BACK AT TED. END ACT ONE
- 18. 17. ACT TWO *INT. BAR - NIGHT *TED LOOKS AT *ROBIN (28, BEAUTIFUL, SOPHISTICATED) *. THEY MAKE EYE CONTACT. *NARRATOR (V.O.) It was like something from an old movie, where the sailor sees the girl across the crowded dance floor, and he turns to his buddy and says, “See that girl? I’m gonna marry her someday.” TED Hey Barney, see that girl? *BARNEY Oh yeah, *check out that rack *! That is *some Grade-A sweater meat. (LOOKING *CLOSER) *W *ait, *dude, *t *hat *girl’s a *reporter. I’ve seen her on *New York *One. Go say hi. *TED *I can’t just go *say hi *. *No, *here’s the *plan: I’ll wait till she goes to the *bathroom, then strategically place *myself at the jukebox so that *-- *BEHIND TED, ROBIN PASSES BY. BARNEY TAPS HER SHOULDER. *BARNEY *(TO ROBIN) Have *ya *met Ted? *BARNEY WALKS AWAY, LEAVING TED ALONE WITH HER.
- 19. 18. *TED *Hi, I’m Ted. SHE SHAKES HIS HAND. *ROBIN (SMILES) So I hear. *INT. CAB - NIGHT *MARSHALL AND LILY (NOW WITH AN ICE-PACK ON HER EYE) HOP IN. * *MARSHALL *I’m sorry. Lily, I’m sorry. (TO THE *CAB DRIVER) Take us to the hospital! *CAB DRIVER *Whoa, whoa, whoa. Did you hit her? *MARSHALL AND LILY LOOK AT EACH OTHER. A BEAT. THEY CRACK UP. *LILY *Please, I’d kick his skinny ass in. *MARSHALL *It’s true, she would. *LILY *I mean, *I love him, we just got *engaged, but *this guy can barely even *spank me in bed for *fun *. It’s just *these tentative little love-pats-- *MARSHALL *Honey? **(RE: CAB DRIVER) *Stranger *. *THE CAB DRIVER STARTS DRIVING. A BEAT.
- 20. 19. (MORE) *CAB DRIVER *Hey, *S *&M’s not sick *. It’s just good, *clean fun between you and the Missus. *For my wife’s last birthday, I turned *our basement into a sex dungeon *. *(TO *MARSHALL) Hey, buddy, y *ou should build *one of those for your fiancee. * *LILY *Fiancee! Sweetie, t *hat’s the first *time someone’s said that! MARSHALL (UNCOMFORTABLE) Yeah... *INT. BAR - NIGHT *TED AND ROBIN CONTINUE CHATTING AT THE BAR. *ROBIN I’m still new, so they never let me cover the big stories. I always get the *stupid fluff pieces *at the end of *the news, you know, the monkey who can play the ukulele. TED *A monkey can play the ukulele? *That *’s *a big story! First they figure out the ukulele, then our computers, our weaponry.
- 21. 20. TED(CONT'D) Pretty soon the Statue of Liberty’s half buried on some beach, and people are saying, “ *Why didn’t *we see this *coming?!” *Why? B *ecause you didn’t *watch the stupid fluff piece at the *end of the news. ROBIN LAUGHS. *OVER AT HER *TABLE, HER FRIENDS GLARE AT THEM. *TED (CONT’D) *Your friends don’t seem too happy *. ROBIN That’s ‘cuz I’m here talking to a Daniel. TED Actually it’s Ted. Have ya met Ted? ROBIN *No, see, *the one in the middle just *got dumped by this jerk, Daniel. And so tonight, every guy is a Daniel *. *TED *You know, if it’ll make your friend *feel better, you could throw a drink *in my face. I don’t mind. *ROBIN *That’s an oddly sweet offer. I might *just take you up on that. Anything I *can do in return?
- 22. 21. *TED *Have dinner with me Saturday night. *ROBIN *Ooh *, I can’t, we’re all going to *Bermuda for a week. We leave Friday. *ROBIN’S DUMPED FRIEND CALLS OUT. *DUMPED FRIEND *Hey, w *hat’s taking so long?! *TED *Well, I know it’s a long-shot, but tomorrow night? *ROBIN (BEAT) *What the hell. *ROBIN SUBTLY WRITES HER NUMBER DOWN AND HANDS IT TO TED. THEN *SHE FLAMBOYANTLY THROWS HER DRINK IN HIS FACE. * *ROBIN ( *CONT’D *) *(LOUD) Jerk! *( *SOTTO *) See you tomorrow. *ROBIN STRUTS OVER TO HER FRIENDS. THE DUMPED FRIEND HIGH- *FIVES HER TRIUMPHANTLY. TED WALKS OVER TO BARNEY, WHO HOLDS *OUT A NAPKIN AND CHUCKLES. *BARNEY *Stuffed! *TED *We’re going out tomorrow night. *BARNEY *Hey, *I thought we were *gonna *go play *Laser Tag tomorrow night!
- 23. 22. *TED *(BEAT) Yeah, I was never *gonna *go play *laser tag. *INT. RESTAURANT - NIGHT *(NARRATOR, ROBIN, TED) *TED AND ROBIN SIT AT THE TABLE. ON THE WALL ABOVE THEM IS A *FRENCH HORN THAT HAS BEEN PAINTED BLUE AND MOUNTED. *NARRATOR (V.O.) *So the next night, I took her out to *dinner at this cute little bistro, *where we sat under a blue French horn. *ROBIN T *hat is a bad-ass blue French horn. I *gotta *get something like that to hang *over my fireplace. *TED *You know, I came here once with my *friend Barney and he said something *about that *blue *F *rench horn, and *as a *result, I *couldn’t enjoy my meal. *ROBIN *What did he say? *TED *He said it’s probably what a S *murf * *penis would *look like. *FREEZE FRAME ON TED.
- 24. 23. (MORE) *NARRATOR (V.O.) *Son, a piece of advice. When you go on *a first date with a girl, you don’t *want to say “S *murf *penis.” Girls don’t *ordinarily like that. *UNFREEZE. ROBIN CRACKS UP. TED LAUGHS TOO. *ROBIN *That’s one lucky *S *murf. *NARRATOR (V.O.) *But this was no ordinary girl. *INT. TED AND MARSHALL’S *APARTMENT - THE NEXT EVENING *(LILY, MARSHALL, TED) *LILY -- WHO NOW WEARS AN EYE *PATCH -- READS A WEDDING *MAGAZINE ON THE COUCH WHILE MARSHALL’S ON THE INTERNET. *LILY W *hat kind of wedding cake would you *prefer: Chocolate Layer or Tahitian *Vanilla? *MARSHALL *(RE: SCREEN) I have diabetes! *LILY *So...something sugar free? *MARSHALL L *isten to this: “Diabetes. Symptoms *include: Nausea.” Check. “Dry mouth.” *Got it. “Increased urination.” Like a *firehose.
- 25. 24. MARSHALL(CONT'D) *(THEN, CONFUSED) “Loss of sheen on *coat. Less playful, doesn’t want to go *on walks.” *LILY GOES OVER TO THE COMPUTER, CHECKS OUT THE SCREEN. *LILY *T *his is a canine medical *website. *MARSHALL *But I have all the symptoms. I never go on walks anymore! *LILY *You don’t have doggie diabetes. *MARSHALL *Yeah, you’re right. *LILY *Marshall, every time we *disagree on *something, you *say “Yeah, you’re *right *. *” **You’re in law school. *How are *you ever *gonna **win a case if your only *argument *is “Yeah, you’re right” *? * *MARSHALL *Okay. I *do *have doggie diabetes. *LILY *No you don’t. *MARSHALL *Yeah, you’re right. *LILY *Dammit, *Marshall!
- 26. 25. *TED ENTERS, SEES LILY’S NEW EYE PATCH. *TED *I’m sorry, am I interrupting an (LIKE *A PIRATE) *Arrrr-gument? *LILY *Oh, that’s clever. *‘Cuz I’m a pirate *. *MARSHALL Hey, *how was your big date *? *TED *Mom, Dad, I’ve met the future Mrs. Ted *Mosby. *She’s perfect. *Marshall, *h *ow *have I always d *escribe *d *my perfect *woman *? * *MARSHALL *S *he loves dogs *? *INT. RESTAURANT - NIGHT *(ROBIN, TED) *ROBIN *I’ve got five dogs. *TED *Five dogs! *INT. TED AND MARSHALL’S *APARTMENT - NIGHT *(LILY, TED, MARSHALL) *TED IS RECOUNTING THE STORY TO MARSHALL AND LILY. *LILY *Five dogs! *TED *That’s an easy one. Dig deeper.
- 27. 26. *MARSHALL *She drinks scotch *? *INT. RESTAURANT - NIGHT *(ROBIN) *ROBIN SIPS A GLASS OF SCOTCH. *ROBIN *Ahhh. I love a Scotch that’s old *enough to order its own Scotch. *INT. TED AND MARSHALL’S *APARTMENT - NIGHT *(MARSHALL) *MARSHALL *Can quote obscure lines from *Ghostbusters *? *INT. RESTAURANT - NIGHT *(ROBIN) *ROBIN *“ *Ray, when someone asks you if you’re *a god, you say *yes *! *” *INT. TED AND MARSHALL’S *APARTMENT - NIGHT *(LILY, TED) *LILY *Wow, Ted, did you *, *like *, *go back to *the eighties and hire some nerds to *build this girl with their computer? * *TED *I’m saving the best for last. *INT. RESTAURANT - NIGHT *(ROBIN) *ROBIN PICKS THE OLIVES OUT OF HER SALAD. SHE LOOKS UP AT TED.
- 28. 27. *ROBIN *Do you want these? I hate olives. *INT. TED AND MARSHALL’S *APARTMENT - NIGHT *(LILY, MARSHALL) *MARSHALL AND LILY ARE FLOORED BY THIS. *LILY She hates olives! *T *hat’s great! *MARSHALL *The olive theory! INT. 2029 LIVING ROOM - EVENING (SON) THE KIDS LOOK CONFUSED. SON What’s the olive theory? *INT. RESTAURANT - NIGHT (TED, ROBIN) *TED IS NOW EATING THE OLIVES. *TED *P *eople either love olives or they hate ‘ *em, right? Very few undecideds out *there. *So here’s the spooky thing I’ve observed: in every great *relationship, * there’s *an olive lover and an olive *hater. It’s like positive and negative *ions. Perfect symbiosis. *ROBIN *Ya know, I’ve had a jar of olives just *sitting in my fridge forever.
- 29. 28. *TED *I could take them off your hands. *ROBIN *(FLIRTATIOUS) They’re all yours. *INT. TED AND MARSHALL’S APARTMENT *- NIGHT *MARSHALL AND LILY ARE EXCITED BY THIS. *LILY *Aw *yeahhhh! *MARSHALL *(SINGING) *When I get that feelin’ / I *need sexual healin’! *LILY * *Wait, it’s only 10:45. And you don’t *look sexually healed. What happened? *TED *Well, *I had the whole thing *planned *out. D *inner, a romantic walk back to her apartment *through the park, *you *know, to set up the *goodnight *kiss *... * *EXT. ROBIN’S BROWNSTONE *- NIGHT *TED AND ROBIN WALK UP TO HER DOOR, THE BASEMENT APARTMENT. * *ROBIN *I *gotta *get me one of those blue *French horns. It’s *gotta *be blue and *it’s *gotta *be a French horn. *TED *No green clarinet, no purple tuba...
- 30. 29. *ROBIN *It’s a *Smurf *penis, or no dice. (BEAT) *I had a really nice time tonight. *TED *Me, too. * *SUDDENLY, A NEWS VAN PULLS UP. *A PRODUCER HOPS OUT, URGENT. *PRODUCER *There you are! **We got a jumper. Some *crazy *guy *on the ledge of the *Manhattan Bridge. *Come on, you’re *covering it *. *ROBIN *Oh. Okay. Just give me a sec, okay? *THE PRODUCER GETS BACK IN THE NEWS VAN. ROBIN TURNS TO TED. *ROBIN ( *CONT’D *) *I really *did *ha *ve *a great time. I’m sorry to run off like this. *ROBIN LINGERS FOR A MOMENT. *INT. TED AND MARSHALL’S APARTMENT *- NIGHT *TED FINISHES THE STORY TO MARSHALL AND LILY. *LILY *So’d you kiss her? *TED *Nah. *LILY *Why not?!
- 31. 30. *TED *There *wa *s a news crew *, a guy’s gonna jump off a bridge *...Look, this girl *could actually be my future wife. I *want our first kiss to be amazing. *LILY *Aw *, Ted, that’s so sweet. (BEAT) So *you *chickene *d *out. *TED *I didn’t chicken out! Kissing a girl *for the first time is a delicate *thing. I didn’t even get the signal. *LILY *There’s a signal? *TED *Yeah, it’s like this exciting *radiation she gives off. And if you *don’t feel it, you don’t kiss her. You *wouldn’t understand. You haven’t been *single since The *Macarena. *LILY *Ted, even the dumbest single person *alive would say you should have kissed *her. (BEAT) And if you don’t believe *me, call him. *INT. LASER TAG ARENA *- NIGHT *(BARNEY, TED)
- 32. 31. *BARNEY, IN A LASER TAG VEST AND HELMET, IS IN THE MIDST OF A *LASER TAG BATTLE. HE STOPS TO ANSWER HIS PHONE. SPLIT-SCREEN *BETWEEN BARNEY AND TED ON THE PHONE. *BARNEY *Hey, loser. How’s not playing Laser *Tag? Because *playing *Laser Tag is *awesome *. *TED *Listen, I need your opinion-- *BARNEY *Meet me at the bar in fifteen! And *suit up! *BARNEY HANGS UP ON TED. *INT. BAR - NIGHT *MARSHALL, LILY *(STILL WEARING *EYEPATCH *) *, BARNEY (NOW IN A *SUIT) AND TED (NOT IN A SUIT) *LISTEN TO THE END OF THE STORY. * *TED *So...what do you think? *BARNEY *I can’t *believe *you’re still not *wearing a suit *! * *TED *Will you please *tell *Long Jane Silver *here **I didn’t chicken out *? *BARNEY *Lily... *he *totally **chickened *out *.
- 33. 32. *TED *No! *Dude, you’re not listening, *I *didn’t get the signal. *BARNEY *Oh please *. “The signal.” Like that’s *even a thing *. *What, is she gonna bat *her eyes in Morse code? (BLINKING) *“Ted...I like you...kiss me...” No! *You just kiss her *! * *TED *You can’t kiss her if you don’t get *the signal! *BARNEY GRABS MARSHALL BY THE ARMS AND KISSES HIM ON THE LIPS. *MARSHALL *Dude! *BARNEY *Did Marshall give me “the signal?” *MARSHALL *(SPITTING) No. And you need to shave. *BARNEY *But see, at least I’ll get to sleep *tonight knowing, Marshall and me? *Never *gonna *happen. You should’ve *kissed her. *BEAT AS TED LETS ALL THIS SINK IN.
- 34. 33. *TED *I should’ve kissed her. *Well, I guess *I’ll just...see her when she gets back *from Bermuda. *BARNEY *Bermuda? Yeah, she’s *gonna *hook up in *Bermuda. You’re never *gonna *see her *again. So I suggest we play a little *game I call-- *MARSHALL *Hey l *ook *, **s *he’s on *TV *! LILY Ooh, she’s cute! *Cheryl, turn it up. *THE BARTENDER TURNS UP THE VOLUME. *ANGLE ON TV: ROBIN, NOW *MADE UP AND IN A DIFFERENT OUTFIT, REPORTS WITH THE MANHATTAN *BRIDGE IN THE BACKGROUND. *ROBIN *...at which point, *police *apprehend *ed * *the man *, giving this bizarre story a *happy ending *. *For *New York One News *, *I’m-- * *CHERYL MUTES THE TV. *MARSHALL *Huh. The guy didn’t jump. *SOMEHOW HAUNTED BY THIS, TED STANDS UP. *TED *I’m *gonna **go *kiss her *goodnight. Right now.
- 35. 34. *BARNEY Okay *, let’s not do anything crazy. *TED *I never do anything crazy! I *’m always *waiting for the moment, planning the *moment - maybe this is the moment. *(POINTS TO TV) I *gotta *do what that *guy couldn’t. I *gotta *take the leap. * (OFF THEIR LOOKS) *Okay, i *t’s not a *perfect metaphor, ‘cuz **for me *, *it’s *“fall in love *and get married, *” *and *for *him *it’s death *. *BARNEY *Actually, that *is *a perfect metaphor. *(OFF MARSHALL AND LILY’S GLARES) By *the way, did I congratulate you two? TED So, what do you think? *LILY *Do it. *MARSHALL *Do it. *ALL EYES TURN TO BARNEY. *BARNEY All right *, I’ll sign off on this, *but *under one condition...
- 36. 35. *INT. CAB - NIGHT *THE FOUR OF THEM ARE IN A CAB. TED’S NOW WEARING A SUIT. *BARNEY Look at you *in that suit! **This totally *makes up for laser tag! *TED *(SEEING SOMETHING) Stop the car! *THE CAB STOPS, AND TED RUNS OUT. *MARSHALL *Where’s he going? *INT. RESTAURANT - NIGHT *THE SAME RESTAURANT FROM THE DATE. A FEW STRAGGLING DINERS *FINISH THEIR DESSERT. TWO WAITERS TALK. *WAITER #1 *S *o *’d *th *at *guy end up jumping *? * *WAITER #2 *(DISAPPOINTED) *Nah *, they never jump. *TED RUNS IN, GRABS THE FRENCH HORN OFF THE WALL AND RUNS OUT. *WAITER #1 *Hey! *INT. CAB - MOMENTS LATER *TED DIVES BACK INTO THE CAB WITH THE HORN. *TED *Go! Go! Go! *(OFF THEIR LOOKS) *Flowers *are so cliche *. *AS THE WAITERS RUN OUT, *THE CAB PULLS OFF INTO THE NIGHT. *END OF ACT TWO
- 37. 36. ACT T *HREE INT. CAB - NIGHT *(NARRATOR, LILY, BARNEY, TED) THE CAB PULLS UP IN FRONT OF ROBIN’S BROWNSTONE. TED IS IN THE FRONT SEAT HOLDING THE FRENCH HORN. BARNEY, MARSHALL, AND LILY RIDE IN THE BACK. NARRATOR (V.O.) *So *we *pulled up in front of her place *with a stolen blue french horn. LILY ...because I love olives and Marshall hates them. And that’s how Ted came up with the olive theory. (POKING TED) Such a romantic. BARNEY Yeah. Hey, Ted, if you kiss her, can I watch? I love it when chicks make out. TED Her light’s on. She’s home. TED GETS OUT OF THE CAB. LILY Ted, hang on! *So should we wait here? *What if you, *uh *... BARNEY *Get it on with the TV reporter? *(CHUCKLING) “This just in.” *BARNEY LAUGHS AT HIS OWN JOKE. NO ONE ELSE DOES.
- 38. 37. *LILY *(OFF BARNEY, TO TED) *Please *don’t *leave us out here all night. TED *If it’s going well, I’ll call *your cellphone and let it ring once. *And *you guys can take off. LILY Kiss her, Ted. Kiss her good. *TED *Marshall, remember this *night *. *W *hen *you’re the best man at our wedding, *and you give a speech...you’re gonna *tell this story. TED *WALKS OFF TRIUMPHANTLY. BARNEY *Why does he get to be the best man?! *I’m *your best friend! EXT. ROBIN’S BROWNSTONE - NIGHT HE APPROACHES HER DOOR. NARRATOR (V.O.) With each step, a million thoughts raced through my mind. Unfortunately, there was one distinct thought that didn’t. FLASH TO:
- 39. 38. INT. RESTAURANT - EARLIER THAT NIGHT (ROBIN) A SNIPPET FROM TED AND ROBIN’S DINNER CONVERSATION. ROBIN I have five dogs. FLASH TO: EXT. ROBIN’S BROWNSTONE - WHERE WE LEFT OFF (TED, BARNEY, ROBIN) TED RINGS THE DOORBELL. IMMEDIATELY, FIVE DOGS BEGIN BARKING UPROARIOUSLY. TED FREAKS OUT. LIGHTS START GOING ON IN OTHER APARTMENTS. TED HEADS BACK TOWARD THE CAB. TED Crap. Crap crap crap. BARNEY LEANS OUT THE WINDOW OF THE CAB BARNEY No! Be a man! You’re wearing a suit! NODDING, TED RETURNS TO ROBIN’S DOOR. THE DOOR OPENS, REVEALING ROBIN IN HER PAJAMAS. TED Hi. I was just, u *h... HE HOLDS UP THE FRENCH HORN. SHE LOOKS AT IT, AND LOOKS AT HIM. WITHOUT BATTING AN EYE: ROBIN Come on in. TED GOES INSIDE. INT. CAB - NIGHT *(BARNEY, RANJIT, LILY, MARSHALL) THEY WATCH HIM GO IN. *BARNEY LOOKS AT THE NAMETAG OF THE CAB DRIVER. IT READS “RANJIT SINGH.” BARNEY *Hey, Ranjit. Where you from? Lebanon?
- 40. 39. RANJIT Bangladesh. BARNEY That’s too bad. Lebanese girls, Ranjit. Lebanese girls. *LILY *Okay, I already can’t take this *anymore. I’m *gonna *go see if that *bodega has a bathroom, I *gotta *pee. *LILY GETS OUT. *MARSHALL *Should I come with you? *LILY *Do you have to pee? *MARSHALL *No. *LILY *Then stay. (AS IF TO A DOG) Stay. *SHE EXITS. * INT. ROBIN’S BROWNSTONE - NIGHT (TED, ROBIN) THE APARTMENT IS STYLISH AND NEAT, EXCEPT FOR FIVE DOGS THAT WANDER ABOUT. ROBIN HANG *S THE FRENCH HORN OVER THE FIREPLACE *, *THEN *STEPS BACK NEXT TO TED *TO *ASSESS *IT. TED That looks...just terrible.
- 41. 40. ROBIN Heinous. *So, Ted, what brings you to *Brooklyn at one in the morning with a *blue French horn? TED Well, you know, *our night ended so *abruptly. And ever since I’ve been *kicking myself, because I really *wanted to...get those olives from you. ROBIN (SMILES) *Would you like those olives with some gin and vermouth? TED *Some would call that a martini *. SHE *EXITS INTO THE KITCHEN. *TED ( *CONT’D *) *This is good, this is good... *HE WHIPS OUT HIS PHONE AND STARTS TO DIAL. ROBIN (O.S.) One drink, then I’m kicking you out. HE PUTS THE PHONE AWAY. ROBIN (O.S.) (CONT’D) Although the subway may be closed. HE WHIPS OUT THE PHONE AGAIN. ROBIN (O.S.) (CONT’D) But there’s a ca *r service that runs all night.
- 42. 41. TED TURNS TO ONE OF ROBIN’S DOGS, A DACHSHUND. TED Is she always this confusing? ROBIN RETURNS WITH THE MARTINIS *, TURNS ON THE STEREO *, AND STARTS SWAYING BACK AND FORTH SEDUCTIVELY. ROBIN You wanna dance? TED One second. TED STARTS TO DIAL HIS PHONE. ROBIN TAKES IT, TOSSES IT. TED (CONT’D) *Eh *, it can wait. THEY START *SLOW-DANCING. INT. 2029 LIVING ROOM - EVENING (DAUGHTER, NARRATOR) THE KIDS CRINGE. DAUGHTER Oh God, *is this leading up to you *having *sex *? NARRATOR Just bear with me, okay? INT. CAB - NIGHT *(BARNEY, MARSHALL) IT’S JUST MARSHALL AND BARNEY NOW. A BEAT. BARNEY So Marshall. Ya hate olives. Lily loves ‘em...but you can’t stand ‘em.
- 43. 42. MARSHALL Yeah, I’ve never cared for olives. BARNEY That’s interesting. Two weeks ago, at that Spanish restaurant, *I seem to *recall a little dish of olives. And I also seem to recall *...you had some. MARSHALL Did I? BARNEY Cut the crap, Marshall! You like olives. MARSHALL MAKES SURE LILY’S GONE, THEN TAKES A DEEP BREATH. MARSHALL On our second date, Lily and I went to this Greek restaurant, and I had a salad. She started taking my olives, ‘cuz she loves olives, and she asked if I minded, and I said, *“N *o, *I hate * *olives.” *Then based on that, T *ed came *up with his whole olive theory, so *I *played along. For nine years. BARNEY *Marshall, I’m gonna give you an early wedding present: don’t get married. INT. ROBIN’S APARTMENT - NIGHT *(ROBIN, TED)
- 44. 43. TED AND ROBIN DANCE. IT’S GETTING PRETTY INTIMATE. *ROBIN NOTICES *TED’S GLASS (EMPTY SAVE FOR OLIVES) ON THE TABLE. ROBIN *You didn’t eat your olives. *Open up. ROBIN TAKES AN OLIVE AND FEEDS IT TO TED. ROBIN (CONT’D) You know, *I think I like your olive theory. TED I think I like your new French Horn. ROBIN I think I like your nose. TED I think I’m in love with you. INT. BAR - LATER *THAT NIGHT (MARSHALL, LILY AND BARNEY) TED *, HIS TIE UNTIED, BURIES HIS FACE IN HIS HANDS. MARSHALL, LILY AND BARNEY ARE STUNNED. MARSHALL, LILY AND BARNEY What?! INT. 2029 LIVING ROOM - EVENING (KIDS) THE KIDS ARE STUNNED. KIDS What?! INT. ROBIN’S APARTMENT - NIGHT (ROBIN, TED) ROBIN PULLS AWAY FROM TED, STUNNED.
- 45. 44. ROBIN What?! A BEAT. *SHE TURNS OFF THE STEREO. TED Wow. *ROBIN *Yeah. *TED *I really said that. *ROBIN *You really did. *TED *Maybe a little too soon for that. *ROBIN *Maybe a wee bit. INT. CAB - NIGHT (BARNEY, RANJIT, MARSHALL, LILY) MARSHALL AND BARNEY CONTINUE THEIR CONVERSATION. BARNEY Ranjit, back me up! He needs to lose this woman! RANJIT I think they seem nice. BARNEY Look, you said your stomach’s been hurting, right? Ya know what that is?
- 46. 45. MARSHALL Canine diabetes? BARNEY It’s hunger. You’re hungry, Marshall. Hungry for experience. Hungry for something new. Hungry...for olives. But you’re too scared to do anything about it. MARSHALL Yeah. You’re right. I *’m scared. I’m scared of everything: cancer, champagne corks, Katie Couric. But when I think of spending the rest of my life with Lily - committing, forever, no other women - that doesn’t scare me at all. It’s the best and least-scary thing I can possibly imagine. I’m getting married. REVEAL LILY NOW STANDING BY THE OPEN WINDOW, HAVING HEARD THIS. SHE LEANS IN TO KISS MARSHALL. HE STOPS HER. MARSHALL (CONT’D) (DEEP BREATH) Lily...I like olives. LILY (BEAT) We’ll make it work. SHE KISSES HIM PASSIONATELY. MARSHALL *There’s something *we have to do.
- 47. 46. BARNEY Ranjit *, do not let these two slam in *your cab. MARSHALL I’ll be right back. (TO LILY) Stay! MARSHALL RUNS OFF. INT. ROBIN’S APARTMENT - NIGHT *(ROBIN, TED) TED AND ROBIN SIT ON THE COUCH FOR A BEAT, STUNNED. *ROBIN *You were about to kiss me! *TED *I know! *ROBIN *And I was *gonna *kiss you back. *Probably drag you into the bedroom. *You were *gonna *get some! *TED *Really? *‘Cuz *, okay, cards on the *table: I’m just here for sex. Cheap *meaningless sex. I’m never even *gonna * *call you afterwards. *ROBIN *(SMILES) Now you’re just telling me *what I want to hear.
- 48. 47. TED I’m sorry. I’m not always like this. *It’s just, my best friend *got engaged and I went a little crazy. And then I meet you, and you’re so amazing... ROBIN You’ve only known me one night. TED So? And *believe me, I’ve abandoned all hope, we’re just talking *here. But do you really think there’s no such thing as love at first sight? ROBIN Not in 2005. And definitely not in New York. Ted, I *like being single. *When I need stable companionship, I’ve got five dogs. I don’t need a boyfriend. TED God, why do those words make me wanna be your boyfriend so badly? ROBIN (SHRUGS) The universe hates you? EXT. ROBIN’S BROWNSTONE - NIGHT (MARSHALL, LILY, COP, BARNEY) LILY WAITS ON THE STEPS. MARSHALL APPEARS, HOLDING A BOTTLE OF CHAMPAGNE.
- 49. 48. MARSHALL Champagne! From the rolling hills of (CHECKING BOTTLE) New Jersey. LILY Oh, honey, can we afford that? MARSHALL Step aside, little lady, and watch as I pop this... HE UNWRAPS THE FOIL. IT’S A TWIST-OFF. MARSHALL (CONT’D) Twist-off cap. *Hmm. **Kinda *takes the *danger out of it. LILY Wait. (COVERS HER EYES) *Okay, do it. MARSHALL UNSCREWS THE CAP. *MARSHALL *Pop. *It *’ *s open. LILY (UNCOVER *S EYES) *I love you, sweetie. HE POURS TWO GLASSES. MARSHALL I love you too. MARSHALL AND LILY TRY TO IGNORE IT. THEY’RE JUST ABOUT TO CLINK GLASSES WHEN A COP APPEARS. COP Good evening. Wanna take that inside?
- 50. 49. LILY Oh. We don’t live here. MARSHALL See, we just got engaged-- COP Congratulations. You can’t drink on the sidewalk. Either dispose of the bottle, or go inside. ANGLE ON BARNEY IN THE CAB. BARNEY *Okay, Ranjit, time to go. THE CAB PULLS OFF. LILY Son of a bitch! MARSHALL *Look, we just got engaged *. We *’re *having this toast. Officer. Although you’re still a hero, and we appreciate everything you’ve done for this city. COP (RE: LILY’S EYE) Did he hit you? LILY Ha! COP Give me the bottle, sir. LILY Give him the bottle, Marshall.
- 51. 50. MARSHALL No! COP You’re saying no to me? LILY I can’t believe he’s saying no to me. MARSHALL See *? I can be assertive. I’m gonna be a great lawyer. COP You’re gonna need one, asshole! THE COP GRABS MARSHALL *AND CUFFS HIM ROUGHLY. *INT. ROBIN’S APARTMENT - NIGHT *TED AND ROBIN STAND AT THE DOOR, SAYING GOOD NIGHT. *TED W *ell, have a great trip. Oh, and when *you tell this story to your friends, *could you avoid the word “psycho.” I’d *prefer “eccentric.” *ROBIN *(LAUGHS) Noted. *TED *Hey, that guy on the bridge -- *why’d * *he want to jump, anyway? *ROBIN *He told a first date he loved her. *Kidding. (BEAT) He was just lonely.
- 52. 51. (MORE) *EXT. ROBIN’S BROWNSTONE - NIGHT (NARRATOR) TED EXITS *. NO CAB, NO FRIENDS. HE DIALS HIS CELLPHONE. INT. POLICE STATION - NIGHT (LILY) LILY SITS AT A DESK, FACING A COP. SHE’S COUNTING OUT TWENTY DOLLAR BILLS FOR MARSHALL’S BAIL. MARSHALL SITS BEHIND BARS IN A HOLDING PEN IN THE BACKGROUND. LILY (ANSWERING) Tell me you kissed her. EXT. ROBIN’S BROWNSTONE - NIGHT - MOMENTS LATER (TED, ROBIN) TED RINGS THE DOORBELL. THE DOGS BARK AGAIN. ROBIN ANSWERS. TED How do I get to the F train? ROBIN Two blocks that way, take a right. TED *Robin, *I figured something *out tonight. I *’m sick of being single. I’m *not cut out for it. I *t’s like some *suit that doesn’t quite fit me. But if a woman - *n *ot you, just some hypothetical woman - *were to bear with me through *all th *is stuff I *clearly suck at, I think I’d make a *damn good husband. Because that’s the stuff I’d be good at. Stuff like being supportive. *And making her laugh.
- 53. 52. TED(CONT'D) *And walking her *five hypothetical dogs. *And being a good father. *And *being a good kisser. * ROBIN Everyone thinks they’re a good kisser. TED Oh, I’ve got references. ROBIN (LAUGHS) I’m sure you do. TED Good night, Robin. TED EXTENDS HIS HAND. ROBIN SHAKES IT. TED (CONT’D) And I’m a good handshaker. ROBIN That’s a pretty great handshake. THEY SMILE AT EACH OTHER. THE HANDSHAKE LINGERS A BEAT. INT. BAR - LATER *(TED, MARSHALL, LILY, BARNEY, RANJIT, NARRATOR) TED *, TIE UNTIED, SITS AT A TABLE, SADLY TELLING HIS STORY. *TED *And that was it. I’ll probably never *see her again. *REVEAL THE OTHER THREE, STARING AT TED LIKE HE’S CRAZY. TED *( *CONT’D *) What?
- 54. 53. MARSHALL That was the signal! *LILY *Definitely! *That long, lingering *handshake? You should’ve kissed her. BARNEY There’s no such thing as the signal. *(BEAT) But yeah, that was the signal. REVEAL RANJIT SITTING AT THEIR TABLE. RANJIT (NODS) Signal. TED No, look, Ranjit, you guys weren’t there! LILY *Sorry we disappeared. Oh, that reminds *me. (TO BARNEY) You’re a douche. BARNEY I’ll make it up to you. LILY How could you possibly-- POP! A CHAMPAGNE BOTTLE OPENS. LILY DUCKS REFLEXIVELY. THE BARTENDER HANDS BARNEY AN EXPENSIVE BOTTLE OF DOM. BARNEY So you can have your stupid toast. LILY SMILES, SURPRISED AND TOUCHED. BARNEY STARTS POURING.
- 55. 54. TED That wasn’t the signal. *BARNEY *Yeah, Ted, we’re not on you anymore. LILY God, I’m starving *. TED REACHES INTO HIS POCKET, HANDS HER THE JAR OF OLIVES. LILY (CONT’D) Oh, score! SHE STARTS DEVOURING THE OLIVES. MARSHALL *JOINS IN. TED (SHOCKED) You’re eating olives? BARNEY Oh, yeah, your olive theory *? L *oad of *crap. All right, let’s do this. HE HANDS EACH OF THEM A GLASS. THEY RAISE THEM. LILY To the future. THEY CLINK AND DRINK. A BEAT. TED That was not the signal. NARRATOR (V.O.) I asked her about it years later, and yeah, that was the signal. I could have kissed her. * MONTAGE: ROBIN THROWING A DRINK IN TED’S FACE, THE TWO OF THEM EATING AT THE RESTAURANT, THE TWO OF THEM DANCING.
- 56. 55. NARRATOR (CONT’D) But that’s the funny thing about destiny: it happens whether you plan it or not. I mean, I thought I’d never see that girl again. But it turns *out I was just too close to the puzzle to see the picture that was forming. THE LAST SHOT OF THE MONTAGE IS ROBIN AND TED SHAKING HANDS. NARRATOR (V.O.) (CONT’D) Because that, kids, is the true story of how I met *my good friend Robin Scherbatsky. You know, Aunt Robin. INT. 2029 LIVING ROOM - EVENING (SON AND DAUGHTER, DAUGHTER, NARRATOR) SON AND DAUGHTER (DISAPPOINTED) Awwww! DAUGHTER I thought this was how you met Mom. NARRATOR (V.O.) Will you relax? I’m getting to it. CUT TO BLACK. NARRATOR (V.O.) (CONT’D) Like I said, it’s a long story. THE END